IADCE PROCEEDING BOOK

ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 1 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ “Sanatın İyileştirici Gücü” Teması Üzerine… 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION About the Theme “The Healing Power of Art” April 14, 2021 2021, İzmir All responsibility for the content of the book belongs to the authors. Cover Graphic Design and Page Layout: Cinla SEKER Editors Banu Ozevin (Dokuz Eylül University) Sibel Almelek Isman (Dokuz Eylül University) Cinla Seker (Dokuz Eylül University) Bahar Sogukkuyu (Dokuz Eylül University) Esin Ucal Canakay (Dokuz Eylül University) Zehra Atabey (Trakya University) 2 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 DOKUZ EYLÜL UNIVERSITY BUCA FACULTY OF EDUCATION INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION About the Theme “The Healing Power of Art” April 14, 2021 PROCEEDING BOOK ISBN 978-975-411-550-6 3 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 BİLİM KURULU/SCIENTIFIC COMMITTEE Prof. Dr. Aslı Uz Baş - Dokuz Eylül University Prof. Boris Stevezor - Veliko Tarnovo University Prof. Dr. Ebru İkiz - Dokuz Eylül University Prof. Halil Yoleri - Dokuz Eylül University Prof. Melihat Tüzün - Trakya University Prof. Dr. Nesrin Kula Demir - Afyon Kocatepe University Prof. Dr. Rana Simber Atay - Dokuz Eylül University Prof. Dr. Semra Daşçı - Ege University Prof. Dr. Tuba Gültekin - Dokuz Eylül University Prof. Valeri Chakalov - Shumen Konstantin Preslavsky University Prof. Dr. Vladimir Avramov - Veliko Tarnovo University Doç. Dr. Bahar Soğukkuyu - Dokuz Eylül University Doç. Dr. Banu Özevin - Dokuz Eylül University Doç. Boris Zhelev Georgiev - Veliko Tarnovo University Doç. Dr. Cansu Çelebi Erol - Dokuz Eylül University Doç. Dr. Çınla Şeker - Dokuz Eylül University Doç. Dr. Ebru İlkay Tuncer Boon - Dokuz Eylül University Doç. Dr. Fatma Selda Öz Soysal - Dokuz Eylül University Doç. Dr. Merve Güven Özkerim - Giresun University Doç. Dr. Mücahit Bora - Dokuz Eylül University Doç. Dr. Mümtaz Hakan Sakar - Dokuz Eylül University Doç. Dr. Rostislava Todorova-Encheva - Shumen Konstantin Preslavsky University Doç. Dr. Sena Sengir - Ondokuz Mayıs University Doç. Dr. Sibel Almelek İşman - Dokuz Eylül University Doç. Dr. Svetoslav Angelov Kosev - Veliko Tarnovo University Doç. Dr. Svetozar Chilingirov - Veliko Tarnovo University Doç. Dr. Yasemin Kılınçarslan - Uşak University Dr. Öğr. Üyesi Esin Uçal Canakay - Dokuz Eylül University 4 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Dr. Öğr. Üyesi Ezgi Tokdil - Burdur Mehmet Akif Ersoy University Dr. Öğr. Üyesi Firdevs Sağlam - Hakkari University Dr. Öğr. Üyesi Hüseyin Uysal - Kastamonu University Dr. Öğr. Üyesi Sermin Bilen - Dokuz Eylül University Dr. Öğr. Üyesi Yudum Akkuş - Dokuz Eylül University Dr. Öğr. Üyesi Zehra Atabey - Trakya University Öğr. Gör. Dr. Gürkan Güleç - Dokuz Eylül University Öğr. Gör. Dr. Oğuz Özcan - Dokuz Eylül University Arş. Gör. Dr. Peyruze Rana Çetinkaya - Dokuz Eylül University Arş. Gör. Dr. Yurdagül Kılıç Gündüz - Dokuz Eylül University 5 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 SUNUŞ “Sanatın İyileştirici Gücü” Teması Üzerine… 30 bin yaşındaki mağara resimleri insanın sanatı, sihir ve illüzyonlar yaratmak için kullandığının kanıtlarıdır. Bu resimlerdeki vahşi hayvan imgelerinin insanın hayatta kalması ve beslenmesi için tek yol olan avlanma ritüellerinin bir parçası olduğu kabul edilmektedir. Antik Yunan‘da sanatın her türünün, arınma ve temizlenme anlamına gelen katharsis amaçlı kullanıldığı bulgular arasındadır. Antik Yunan gibi Mısır‘da da halka açık drama tiyatroları ve müzik, toplum üzerinde iyileşme ve rahatlatma etkisi yaratmıştır. Amerika, Afrika ve Avustralya‘da, kısaca dünyanın dört bir tarafında, müzik, dans, özel kostümler ve dövme gibi vücut boyaları şifa verme amaçlı olarak Şamanlar tarafından kullanılmaktadır. Orta Asya‘da yaşayan Türk boylarının sanatı iyileştirme amaçlı kullanması 6 yüzyıllık bir geçmişe sahiptir ve buradan Orta Doğu‘ya, Müslüman dünyasına, Küçük Asya yani Anadolu üzerinden Balkanlar‘a geçmiştir. Yine bölgede, Selçuk ve Osmanlı İmparatorluklarına ait hastanelerde, Orta Çağdan itibaren düzenlenen özel bölümlerde sanat bir tedavi yöntemi olarak değerlendirilmiştir. Düşünceler ve algısal beceriler insana birçok avantaj ve dezavantaj sağlar. İnsan kolektif (ritüel, dans, ses, imge üretimi, aidiyet duygusu) ve / veya bireysel olarak (psikolojik rahatlama, olumsuz düşünce ve duygulardan kaçınma, kendi başına yapabilecekleri üzerine odaklanma), karşılaştığı güçlükleri iyileştirmek için yine kendi kişisel çabalarıyla farklı yöntemler bulmuştur. Sanatı profesyonel bir iş ve uzmanlık alanı olarak yapan bireylerin yanı sıra, renkleri, biçimleri, fırça vuruşlarını, jestleri, hareketleri, müzik notalarını, enstrümanları, ses ve harfleri karıştırıp düzenleyerek rahatlamayı seçen farklı iş alanlarında çalışan insanlar da vardır. Bir iyileştirme, şifa bulma ve yeniden biçimlendirme yöntemi olarak sanat, tüm farklı disiplinlerle birlikte, küresel ya da yerel ölçekte, toplumu bireylerin içine düştükleri sosyal ikilemlerden uzak tutar, otomatikleşen günlük hayatlarına bir ara verdirerek nefes almalarını sağlar ve en önemlisi de olumsuzu olumluya dönüştürmeleri için bireyleri cesaretlendirir. Uluslararası Sanat ve Tasarım Konferansı, Performans / Sergisi yaratıcı zihinlerin sosyal, fiziksel ve çevresel iyileşmede sanat ve tasarımın dil ve materyallerini nasıl kullandığını ortaya koymayı hedeflemektedir. 6 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 PRESENTATION About the Theme “The Healing Power of Art” Since the cave paintings around 30,000 years old, man always used art to create magic and illusions. Those paintings of wild animals presumed as the rituals before hunting, which helps to stay alive and get nourished. During antiquity Greeks used every kind of artistic activity as catharsis meaning purification and clarification. In ancient Egypt public drama theatres and music performed to heal and comfort the public. Music, dance, special costumes, and body paintings like tattoos had been used for recovery and wellness by Shamans, and other believers in different tribes from all over the world like America, Africa, and Australia. Six thousand years of history about using art in recovery had begun from middle Asian Turkic tribes, transported to Middle East and Muslim world over Asia Minor to the Balkans. The hospitals of Seljuk and Ottoman Dynasties from middle ages with special sections for using the power of art in healing can be seen along the geography. Human thinking and perception skills have brought many advantages and disadvantages. People collectively (ritual, dance, sound, image production, sense of belonging) and / or individually (psychological relaxation, getting away from the negative thoughts and feelings, concentrating on what they can achieve on their own) have found different ways to heal these difficulties by their personal efforts. In addition to individuals who are interested in art as a profession, who work and specialize in art, there are also people from different fields who prefer to relax by mixing and arranging colors, forms, brush strokes, gestures, movements, music notes, instruments, sounds, and letters. Different disciplines of art play an active role on a global and / or local scale as a recovering and reforming method to enable the society to move away from the dilemmas that the individual has fallen into, to breathe by giving a pause, to encourage the individual for transferring the negative to positive. The one-day International Art, Design Conference and Exhibition explores the many ways creative mind deals with social, physical, and environmental recovery by using the visual language and materials of art and design. 7 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 CONTENTS KEYNOTES Play Space Music – An Improvisation Workshop with Musicians and Dancers with and without Additional Support Needs 11 Shirley Salmon Arts-Based Inquiry for Individual and Community Healing and Growth 20 Kathleen M. Goodyear Working in Hosting Facilities: Dance and Music as Means of Social Cohesion 30 Olympia Agalianou The concept of flow in art therapy: a vignette of a woman with intellectual disability who self-harms. A heuristic study 36 Frances Hassett PAPERS Analysis of Human Rights Equality-Themed Poster Design Examples with the Method of Semiotics 50 Fatıma Tokgöz Gün A Descriptive Study on Interactive Advertising Graphics in Graphic Design 59 Fatıma Tokgöz Gün ―A Healer‖ Shaman Archetype In Contemporary Art 64 Banuhan R. Ulusoy Covid 19 and Changing Art Paradigms 71 Gözde Yenipazarlı The Psychological Effects of the Relationship between Artist and Work of Art on the Artist in the Creative Process 81 Esin Berktaş Investigation of Aliye Berger's Lyrical Works in the Context of the Act of Creativity 84 Merve Kahraman Covid-19-Pandemic, Communication in Public Space and Graphic Design 99 Selma Kozak The Healing Power of the Aegean and Ancient Greek Civilization of Painting and Sculpture Arts in Human History 104 Kıymet Dirican Pre-Ritual Behavior Models as the Creation Source of the Art of Theatre 119 8 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Fatma Kandemir Şahin Reflectıon of 20th Century Modern Urban Life in The Art of Painting: The Case of The United States 126 Eda Uygan Comparative Analysis of Vincent van Gogh and Fikret Mualla Saygı‘s paintings in terms of Alcohol Addiction During the Artistic Creativity Process 140 Can Çobanoğlu The Broken Plates Renovated Through Kintsugi Technique By Paul Scott 149 Elif Ağatekin The Reflection of Form in a Musical Art Work to the Aesthetic Dimension from a Structural Point af View: Fractal Forms 157 Kutup Ata Tuncer Sandro Botticelli‘s La Primavera (Allegory Of Spring) Examination and Ezotheric Interpretation 166 Oya Cansu Demirkale Kukuoğlu Art as a Tool for Understanding the Subconscious 172 Çağdaş Ülgen Mandala as an Artistic Healing Tool 178 Çağdaş Ülgen Art as Search of a Better World from a Popperian Perspective 183 Ezgi Tokdil Symbolic Meanings of Objects in Beuys' Works 196 Fergana Kocadoru Özgör Treating Mourning and Sorrow with Salt: Ritual Installations by Yamamoto 201 Ersoy Yılmaz Diary of a Pandemic: Magnum Photography Agency and Covid-19 211 Pınar Boztepe Mutlu From Prehistoric Art to Contemporary Art: A Continuous Spiritual Expression 217 Peirui Yang Mnemosphere Project. Power of Images 222 Galasso, Clorinda Sissi; Cecchi, Marta Elisa; Calvo Ivanovic, Ingrid; Borin, Ambra; Mastrantoni, Claudia; Scagnoli, Martina Canan's Representation in the Context of Selfcreation Action in Contemporary Miniatures 231 9 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Nermin Balıkçı Positive Effect of the Art on the War-affected Children 240 Saime Uyar A Healer in Contemporary Art "Kreupelhout Cripplewood" 249 Rıfat Batur Motif Samples from Late-Ottoman Period Art of Embroidery 254 Ayça Özer Demirli Women in Alternative Pop: Turkey Example 262 Mümtaz Hakan Sakar The Healing Art of Anatolia: Circus Art 268 Pınar Arık EPILOGUE The International Art-Design Conference ―The Healing Power of Art‖ 279 Simber Atay 10 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 In M. Belgrave (Ed.), Proceedings of the 20th International Seminar of the Commission on Music in Special Education,Music Therapy, and Music Medicine, Edinburgh, Scotland, (pp. 88 - 97). Australia: National Library of Australia Cataloguing. Play Space Music – An Improvisation Workshop with Musicians and Dancers with and withoutAdditional Support Needs1 Shirley Salmon Orff Institute, University Mozarteum, shirleysalmon@moz.ac.at, Austria The concept of PLAY SPACE MUSIC (SPIEL RAUM MUSIK) was developed by Stefan Heidweiler in Salzburg in 1996 at the Orff Institute, Salzburg. The basis of the project lies in the pioneering work of Wilhelm Keller who developed the ideas of Carl Orff and Gunild Keetman (OrffSchulwerk) and applied them also to work with children and adults with and without disabilities. Heidweiler recognizes another important contributions to this project in free improvisation particularly in the work of some music therapists e.g. Fritz Hegi. The fundamental idea of the 5-day Improvisation workshop was the musical and artistic encounter between 6 professional musicians, who had experience in improvisation, and adults with additional support needs and an interest for music. The method of Free Improvisation took place in duos, trios and small ensembles and ended with a performance on the last day. Between 2000 and 2002 the project was further developed by Brigitte Flucher and Thomas Stephanides who extended it to include dance, painting and drawing. 2 short films documented the projects from 1999 and 2002 and articles on the projects were written by the directors (Salmon & Schumacher 2001). The project was revived in 2014 as a ―Workshop for artistic improvisation and creation‖ by Coloman Kallos and Shirley Salmon (lecturers at the Orff Institute) and included workshops with music, dance and, for the first time, sculpture. In addition to 2 professional musicians and 4 dancers, the sculptor Andrea Kuhnlein was invited, students from the Orff Institute as well as adults with additional support needs and adults from a day-centre for adults in need of psychological support. The projects showed the wide range of creative artistic abilities in all the participants using the media of music, dance, painting and sculpture. The diverse experiences of dialogues were beneficial to all. The project 2014 were documented fully. The main implications for Special Music Education and/or Music Therapy are firstly, the value of free improvisation as a method in different social constellations as a means for individual artistic expression and communication. It allows and furthers elemental expression, encounter and dialogue and is not dependent on the ability to learn and repeat particular parts of a song or piece. And secondly, the value of working with different media such as dance, painting, sculpture and combining them in a variety of ways with music. Keywords: Free improvisation, dance, artistics dialogue 1 The paper was accompanied with video examples from the project 2002 and 2014 PLAY SPACE MUSIC is a week of encounters in artistic dialogue 11 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 1. Goldegg Castle "The disabled person also does not live on bread alone but has the same right to enjoy life as the so-called normal or talented. Musical enjoyment is an irreplaceable element in finding harmony and balance in one's personal as well as social life" (Wilhelm Keller 1974: 2). This statement from Wilhelm Keller has not lost any of its relevance. Keller recognized that each person had a right to music, happiness and inclusion. With his reflections and demands he was years, if not decades, in advance of the integration and inclusion movements (cp. Keller 1996) of today. Keller got to know Carl Orff and his humanistic concept of elemental Music and Dance Education also known as Orff-Schulwerk in the late 1950s and adapted this approach for work with children and adults of all ages and abilities, with and without disabilities especially in inclusive groups (Salmon 2012). Keller‘s pioneering work has been developed and extended at the Orff Institute, by colleagues and by its graduates and can be seen as one of the roots of this project.The artistic project PLAY SPACE MUSIC has always taken place in the medieval Goldegg Castle near Salzburg, Austria and was initiated by Stefan Heidweiler, a graduate of the Orff Institute, in 1996. The essence of this project were the artistic encounters in improvisation between adult participants with additional support needs (from sheltered workshops) who had an interest and talent for music - together with professional musicians with interest and experience in improvisation and later also with dancers. A few carers from the sheltered workshops were also present and some also participated. Heidweiler states that it is particularly improvisation that enables and furthers being together authentically and intensely. In Improvisation, the abilities of each person can emerge and contribute to interesting artistic results. In interviews with the musicians, they emphasize that they too also learn and profit from this project. The creative processes that develop make personal expression and communication possible – especially for those participants where this otherwise often restricted (cf. Heidweiler 2001). Hegi emphasizes: “There is a fundamental strength in improvisation processes that activates momentary experiences and enables them to be extended.” (F. Hegi 1997) One of the goals of the first projects was to address diverse types of musicality and talent during the weekand to show these in a public work-in-progress performance at the end of the week. The professional musicians offered a wide range of styles so that each participant could find their own preferences – from experimenting to improvising to creating together. Although the primary goal was artistic and not pedagogical or therapeutic, therapeutic effects could be observed during and after all the projects. The documentation of these projects has been important and to date has resulted in two films from the projects in 1999 and 2002 produced by Coloman Kallos. There is a wealth of video-material from the three- day workshop in 2014 which will be evaluated and used in a new DVD project. Apart from the artistic work, the interviews with participants from the sheltered workshops, with carers and the professional musicians and dancers have given extra insight into the effects of the project. The experiences and feedback from the Orff Institute students will give a different perspective to the evaluation. 12 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 2. Examples of duet and trumpet. After Stefan Heidweiler had directed four projects, they were taken over and further developed by Thomas Stephanides (musician, doctor and psychotherapist) and Brigitte Flucher (music teacher and music therapist) who had also collaborated in some of the previous projects. From 1999 – 2002 they introduced further developments and enlarged the project considerably. Firstly, dance was introduced as a new medium and later painting. In addition to the professional musicians and dancers and participants from sheltered workshops, a few students studying elemental music and dance education or social and community work also participated. The goals included social well-being, personal growth and communication, artistic expression as well as musical development and development in movement and dance. In one publication 2 Thomas Stephanides who co-directed four projects wrote: ―There are moments without goals, full of sensory experience and joyin constructive, purposeful activities. Moments of ‗healing‘ and social learning – which cannot be planned or made but are perceived as a gift.‖ In 2014, the project was revived by Coloman Kallos, lecturer at the Orff Institute. There were a number ofdifferences compared to previous projects: - 3 days (instead of 5), - 2 professional musicians, 4 professional dancers, - the introduction of sculpture with wood as a new medium – specifically creating heads, - 8 students from the Orff Institute (on the bachelor or master degree course ―Elemental music and dance pedagogy‖) participated and some were often asked to lead some of the music activities in small groups, - some participants were from sheltered workshops for adults who were suggested by the carers, - some participants came also from the day centre ‗Laube‘ (arbour) an institution for young adults and adultsin need of psychological support, many unable to find or hold down a job, - In 2014, the project focused more on specific pedagogical and social goals and not so much artistic ones. All the participants decided at the beginning which medium would interest them most (there were only 8 places in the sculpture workshop). The working phases were from 10 – 12 a.m. with a break for lunch and free time and then 2 – 4 p.m. On the last afternoon, there was a work-in-progress performance. 2 Stephanides 2001 13 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 3. Example of sculptures created in the project. The addition of sculpture with Andreas Kuhnlein gave the project a new artistic dimension. The sculptures of Andreas Kuhnlein3 are stunning and extraordinary. He has exhibited internationally and he has also worked with people with additional support needs in the past. For this project, tree trunks had been prepared that would be worked on to create individual heads. None of the participants had any experience of this type of sculpture or of handling the tools. In two days, each of the eight people had created a highly individual head out of wood – some were able to talk about their sculpture in the interviews. The finished heads were then used in the dance group as stimulation for various types of improvisation. Figure 4. Examples of instruments and small group with harp. There were many impulses for musical improvisation in the large and smaller groups. Franz Schmuck – an Austrian musician and instrument maker who took part in every project since the beginning – introduced ‗Improvisation signs‘ for the large group inspired by the London Improvisers Orchestra4. Not only him but also a few participants conducted the group. A wide range of Western and non-Western instruments (percussion, wind, string) with different playing techniques as well as original self-made sounding objects were available. Sessions sometimes involved the whole group but often split into smaller groups e.g. with just plucked instruments, with different sorts of wind instruments etc. Sometimes duos or trios emerged. Anklungs were used for the first time in this project. They are musical instruments from Indonesia made of two to four bamboo tubes attached to a bamboo frame. The tubes are carved to have a resonant pitch when struck and are tuned to octaves so that one can have a complete diatonic scale or choose particular pitches to create different scales. These instruments can be played in 2 ways and require particular movements to produce a sound. This was possible for all participants in the music group. They were used not only for sound and communication games but also for rhythmical playing and layering of patterns. 3 http://kuhnlein.eu/ 4 http://www.londonimprovisersorchestra.co.uk/ 14 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 5. Examples of anklungs and Ballaphone. Figure 6. Example of duet with statue and dance with statues. The dance activities were sometimes without music and in the 2014 project mostly with live music. Impulses included spontaneous movement, stop and go, question and answer with a partner, tasks for trios or quartets – and at the end tasks that involved the sculptures. e.g. observing them closely, imitating with one‗s face and arms, making faces, coming into contact with the sculptures during the dance improvisation. 15 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 7. Example of dialogue presented by Milani Comparetti 1998. Figure 8. Example of trio in the project. Space Space came to play an important part in the projects and had many meanings: - the medieval castle, the courtyard, stairway, the rooms of different size, the knights‘ hall with paintings, - the space between and in between the different media – music, dance, sculpture, - The play space, the term Winnicott used to describe the transitional space, or developmental space between mother and child, in which the child is free to play with emerging aspects of the self5. In this context, it can mean the space between two or more adults allowing them to experiment and improvise with each other. - Space to unfold, to express oneself, to communicate, to relax and withdraw when necessary (e.g. in the‗quiet room‘). - The Stairway in the old castle: On the 2nd day a vocal improvisation happened spontaneously 5 Winnicott, D.W: (1971). Playing and reality. New York: Basic Books 16 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 that was so innovative and rich with ideas that we decided to repeat it for the audience as they went upstairs for the performance on the 3rd day. Dialogue has played a central part in all these projects on many levels – social and verbal dialogue between the participants, dialogue between the organizers and the institutions and of course artistic dialogue during the projects. The Italian doctor Adriano Milani Comparetti‘s defined dialogue as ―the interplay with the partner(s), aiming to achieve results together, which are unpredictable and frequently surprising to the participants themselves.‖ This could be seen in numerous improvisations during this week of artistic encounters. The social aspects of these projects were especially important. Any individual development can only be understood in the sense of the co-ontogenesis of systems (Feuser, 2008). Martin Buber‘s statement The human being needs a „You‟ to become an „I‟ (Buber, 1965: 32) stresses that the development of the ‘I‘ depends on the ‗You‘ - the other people that one is in contact with and the environment available to the individual. Feuser also stresses the importance of this: “We cannot help but recognise that any limitation of an individual‟s exchange with his/her environment – exchange that is necessary for both the individual and the entire species of which he/she is a member and includes culture-specific schooling as well as social exchange – will also limit his/her development and not just modify it” (Feuser, 2008). Building up of self-confidence and self-awareness can also be supported in group work and are important requisites for learning and living. Self-confidence can be seen as “a necessary but still not adequate precondition for the maintenance and revival of the joy of discovery and desire to create and thereby for thesearch for creative and innovative solutions” (Hüther, 2008). Figure 9. Example of large group and wind instruments from the project. Inclusive Pedagogy Looking at Georg Feuser‘s definition, we can recognize that there are many parallels in this artistic project.According to Feuser inclusion means that - all participants (without excluding anyone due to the type or severity of their disability) - work, play and learn together, - in cooperation with each other, - within one theme, activity or task at their respective developmental levels taking their present levels of competence in perception, cognition, movement and behaviour into consideration (Feuser, 2001: 27). 17 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Essential aspects of inclusive teaching are individualization and cooperation when working on a common subject or task. Students/participants cooperate within one theme, task or activity where working together may involve different social constellations. Nobody is excluded and the subject, task or theme is made available to everyone. At the same time inner differentiation is made possible when the teacher/leader enables each student to experience and understand the topic on his/her own level and where individual taskscan be set that play a part within the common topic (Feuser, 1997).The concept of Elemental is also a central aspect of this unique project where we can also see parallels between Elemental Music Education and as well as Community Music. Wilhelm Keller sees elemental music as the ‗music of the personality as it is‘ and writes: ―„Elemental‟ cannot only be seen as „original‟ but must also be understood as „focal‟ or „central‟. It is the realisation of an original, central musical potency anchored in each individual” (Keller, 1984: 801). The Elemental was also for Carl Orff central to his artistic and educational work: ―The elemental remains a foundation that is timeless. The elemental always means a new beginning (…) The elemental is always productive.” (Orff, 1978: 277). It is “the force that brings forth the genuinely original, as the autonomously active and effective, the self-organising and selfrenewing and as an event which autonomously sets itself in scene.” (Jungmair, 1992: 136) The fact that elemental creativity exists independently from any determined age or from special talents or disabilities means that creative activities should be made available to everyone. This project shows one of the many possibilities. Future projects In the future we hope that projects will take place every 2 nd year with the focus alternating between social- pedagogical goals as in 2014 and explicitly artistic goals as in 2016. Once again, they will be looking for diverse approaches and forms of expression furthering potential, creativity and artistic expression. In 2016, the project will also be filmed and a DVD documentary of the projects from 2014 and 2016 is planned including case studies, as well as an evaluation of both projects from the many perspectives of the participants. References Feuser, G. (1997). Thesis: Inclusive education: Education of all children and young people together in preschool establishments and schools. Retrieved from http://bidok.uibk.ac.at/library/feuser-thesis-e.html Feuser, G (2001). Prinzipien einer inklusiven Pädagogik. Behinderte in Familie, Schule und Gesellschaft. Retrieved from: http://bidok.uibk.ac.at/library/beh2-01-feuser-prinzipien.html Flucher, Brigitte & Stephanides, Thomas (2001): Werkstattwoche für freie Improvisation mit Musik und Tanz für Professionelle Künstler und Menschen mit Behinderung. In: Salmon & Schumacher 2001. Hegi, Fritz (1997): Improvisation und Musiktherapie. Möglichkeiten und Wirkungen von freier Musik. Paderborn: Junfermann Verlag Heidweiler, Stefan ( 2001): Spiel Raum Musik - Idee und Entwicklung eines integrativen Projektes im Schnittfeld von Kunst, Pädagogik und Therapie. In: Salmon & Schumacher 2001 Hüther, Gerald (2008): The Neurobiological Preconditions for the Development of Curiosity and Creativity. In: von Seggern H, Werner J, Grosse-Bächle L (Hg.) Creating Knowledge. Jovis Verlag, Berlin 125137 http://www.geraldhuether.de/pdf/neurobiological_preconditions.pdf 18 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Jungmair, Ulrike (1992): Das Elementare. Zur Musik- und Bewegungserziehung im Sinne Carl Orffs. Theorie und Praxis. Schott, Mainz. Kallos, Coloman (1999) und (2002) DVDs Spiel Raum Musik. Carl Orff Institut, Universität Mozarteum. Keller, W. (1974). Ziele und Aufgaben des Instituts für Musikalische Sozial und Heilpädagogik am Mozarteum in Salzburg. In Orff-Schulwerk Informationen 13. Hochschule für Musik und darstellende Kunst, Mozarteum― in Salzburg, Orff-Institut. Keller, Wilhelm (1984). Elementare Musik von und mit Behinderten. [Elemental Music from and with thedisabled] In: Musik und Bildung. Schott, Mainz 16(12), 797-802. Keller, W. (1996): Musikalische Lebenshilfe. [Musical life support] Mainz, Germany: Schott Music. Orff, C. (1978). The Schulwerk. Vol. III of Carl Orff/Dokumentation. (M. Murray, Trans.) New York: Schott. Milani Comparetti, Adriano (1998): Fetale und neonatale Ursprünge des Seins und der Zugehörigkeit zur Welt. In: Behinderte in Familie, Schule und Gesellschaft, Vol. I. Graz. Online: http://bidok.uibk.ac.at/library/comparetti-milani_medizin.html Salmon, Shirley (2012): MUSICA HUMANA – Thoughts on humanistic aspects of OrffSchulwerk. In: Haselbach, B (Hg) Örff-Schulwerk Informationen 87, Winter 2012 . Hrsg. Universität Mozarteum, Carl Orff Institut und Orff-Schulwerk Forum Salzburg; Frohnburgweg 55, A-5020 Salzburg. p. 13 – 19 http://www.orff-schulwerk-forumsalzburg.org/deutsch/orff_schulwerk_informationen/ pdf/Heft_Nr_87.pdf Salmon, Shirley & Schumacher, Karin (Ed.) (2001) Symposion Musikalische Lebenshilfe. Die Bedeutung des Orff-Schulwerks für Musiktherapie, Sozial- und Integrationspädagogik. Hamburg. Winnicott, D.W: (1971). Playing and reality. New York: Basic Books. 19 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Arts-Based Inquiry for Individual and Community Healing and Growth Kathleen M. Goodyear PhD, Independent Scholar, goodyear.24@osu.edu Abstract As Dewey observed in Art and Experience (1934/2005), humans have always explored their world and made meaning from experience through the arts. Today, artists and arts-based researchers use arts-based inquiry themselves, with individuals of all ages, and with communities to foster understanding, empathy, conflict resolution, and healing. In this chapter, I first describe Heron‘s model of modes of psyche and ways of knowing (1992) as incorporated in Heron and Reason‘s participatory inquiry paradigm (1997) and Yorks and Kasl‘s ―Expressive Knowing Is a Pathway‖ taxonomy (2006). These models emphasize the power of creative expression to foster understanding, empathy, and healing within the individual, interpersonally, and within and between communities. I then give examples of how arts-based inquiry has been used with children, youth, and adults, both individually and in groups, schools, prisons, and other community settings, through storytelling, narrative and creative writing, visual artmaking (including photo-elicitation and photovoice), music, movement/dance, and theatre. Diane Conrad‘s work with homeless, rural, and incarcerated youth (see, e.g., 2015a, b) and my in-class work with undergraduate students in a diversity and social justice course (Goodyear, 2016, 2018a, b) serve as examples of employing multiple arts modalities. Keywords: arts-based inquiry, community healing, transformative learning, diversity and social justice education, college student development As Dewey observed in Art and Experience (1934/2005), humans have always explored their world and made meaning from experience through the arts. Today, artists and arts-based researchers use arts-based inquiry themselves, with individuals of all ages, and with communities to foster understanding, empathy, conflict resolution, and healing. In this chapter, I first present Heron‘s model of modes of psyche and ways of knowing (1992) as incorporated in Heron and Reason‘s participatory inquiry paradigm (1997). Heron‘s model provides a robust theorization regarding the role of creative expression in exploring and memorializing experience leading to cognitive meaning-making and practical application. Yorks and Kasl‘s ―Expressive Knowing Is a Pathway‖ taxonomy ―for using expressive ways of knowing to foster transformative learning‖ (2006, p. 43) is based on Heron‘s model. These models illustrate the power of the arts and creative expression to foster understanding, empathy, and healing within the individual, interpersonally, and within and between communities. I then give examples of how arts-based inquiry has been used with children, youth, and adults both individually and in groups, schools, prisons, and other community settings (see also Goodyear, 2016, 2018a, b). Modalities used include storytelling, narrative and creative writing, visual artmaking, music, movement/dance, and theatre. Diane Conrad‘s work with youth and my in-class work with undergraduate students in a diversity and social justice course serve as examples of employing multiple modalities. 20 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Conceptual Frameworks for Arts-Based Inquiry Heron’s Model of Modes of Psyche and Ways of Knowing In his 1992 book Feeling and Personhood, the transpersonal psychologist John Heron presented his epistemological model of four modes of psyche (affective, imaginal, conceptual, and practical) and ways of knowing (experiential, presentational, propositional, and practical). He posited that our modes of psyche work in pairs to generate each way of knowing. We first gain experiential knowledge as embodied beings through our affective/emotional and imaginal/sensory modes of psyche. Second, to describe and remember an experience, we encode it in language, stories, symbols, and works of creative expression using our imaginal and conceptual psychic modes. Heron calls this presentational (descriptive) knowledge. Presentational knowledge can be generated through arts-based inquiry processes and memorialized in writing and other artwork. Third, we seek to make cognitive meaning of our experience, what Heron calls propositional knowledge, employing our conceptual and practical psychic modes. Finally, we apply our knowledge in practical ways in the world, utilizing our practical and affective psychic modes, which results in new experiences. So while Heron‘s process is often portrayed as a pyramid (see, e.g., Kasl & Yorks, 2012, Fig. 2.1, p. 508), it is actually a recursive loop. Not only is this process a loop, but we can travel back and forth within the process. To better understand and make meaning of an experience, we reflect on our memories, revisit our stories, and ponder our works of creative expression. When we read or listen to someone else‘s story, view their artwork, listen to their music, or watch a play they wrote, we become immersed in our own experiencing of that creative expressive work, activating our own memories and understandings, while experiencing at least in part what the creator had experienced. Heron and Reason’s Participatory Inquiry Framework In their landmark article ―A Participatory Inquiry Paradigm‖ (1997), Heron and his colleague Peter Reason set forth their view that life is fundamentally participatory. Within the individual, our various psychic modes and types of knowledge holistically interact with one another—I view this as communication within one‘s internal community. They point out that Heron‘s model of modes of psyche and ways of knowing illustrates both intrapersonal and interpersonal relating and knowing—I would add relating and knowing within and between groups and communities as well. One drawback of conventional Western education, unlike traditional Indigenous education, is that cognitive knowledge is typically taught and learned in order to generate yet more cognitive knowledge, a closed loop creating a mental knowledge base that becomes increasingly out of touch with personal and interpersonal experience. Indeed, Western education tends to hold that experiential, embodied, emotionally felt knowledge is unimportant and even unreliable. In my view, this leads to mental and even physical illness on individual, interpersonal, and community levels. Engaging in the arts and other forms of creative expression can be an antidote to this overly mental imbalance and can generate individual, interpersonal, group, and community healing and growth. Yorks and Kasl’s “Expressive Knowing Is a Pathway” Taxonomy The transformative learning scholars/practitioners Lyle Yorks and Elizabeth Kasl use both Heron‘s epistemological model and Heron and Reason‘s participatory inquiry paradigm in their own work. In their landmark article ―I Know More Than I Can Say: A Taxonomy for Using Expressive Ways of Knowing to Foster Transformative Learning‖ (2006), they set forth their ―Expressive Knowing Is a Pathway‖ taxonomy (Fig. 3.1, p. 60). Their term ―expressive‖ equates with Heron‘s ―presentational‖ way of knowing, which includes engaging in the arts and other forms of creative expression. In the article, they discuss how we can gain both understanding and empathy through reliving our own and others‘ experiences through stories and other creative works. In their later article ―Do I Really Know You? Do You Really Know Me? Empathy Amid Diversity in Differing Learning Contexts‖ (Kasl & Yorks, 2016), they further explore using interpersonal sharing of experiences through stories and artwork to increase empathy. Examples of Using Arts-Based Inquiry With Individuals and Communities Narrative and Creative Writing and Drawing 21 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The Beat Within (2021) is both (1) a narrative and creative writing and drawing workshop program for incarcerated youth and (2) the title of its biweekly magazine, subtitled A Publication of Writing and Art From the Inside. David Inocencio originally started the program in 1996 to work with incarcerated youth in the San Francisco Bay area, and now the program is working with incarcerated youth throughout California and in New Mexico, Hawaii, Oregon and Washington, DC. Workshop facilitators encourage participants to explore their experiences, feelings, and dreams through writing and sharing poetry, journal entries, and stories as well as through pencil drawings. The website states: The Beat Within‟s mission is to provide incarcerated youth with consistent opportunity to share their ideas and life experiences in a safe space that encourages literacy, self-expression, some critical thinking skills, and healthy, supportive relationships with adults and their community. Outside of the juvenile justice system, The Beat Within partners with community organizations and individuals to bring resources to youth both inside and outside of detention. We are committed to being an effective bridge between youth who are locked up and the community that aims to support their progress towards a healthy, non-violent, and productive life. (“About Us” p.) Photo-Elicitation Like many arts-based inquiry approaches involving visual inquiry, photo-elicitation typically combines visual inquiry with narrative inquiry, tapping the unique expressive powers of both, which in turn fosters increased insights through reflection and dialogue. In photo-elicitation, participants are asked to take photos of their lives in general or with regard to a particular theme. The researchers then ask participants to choose a few of their photos and comment on them, relating the photos‘ backstories, what these photos signify to them, etc. Participants may tell their stories directly to a researcher in interviews or may share them with each other and the researchers in focus groups. They may also be asked to caption the photos and/or to create written narratives about them. Ann Grugel (2008) of the University of Wisconsin Madison conducted a photo-elicitation project with several urban elementary-age children in Milwaukee involved in a summer children‘s community garden. In the garden, each child worked alongside an adult ―garden buddy,‖ and at the beginning and end of each day, the children and adults met under a ―welcome‖ tree to share experiences. For her project, Grugel first gave the children disposable cameras and invited them to take photos documenting their gardening experiences. Grugel then met with each child, showing them all of their developed photos and asking them to choose a few that really meant a lot to them and to tell her about what was happening in the photos and how they found them meaningful. The children described their experiences with the plants, bunnies, caterpillars, and the community of gardeners. With regard to Tamika [a pseudonym], Grugel states: [I]t was not until after a series of photo elicitation interviews that I realized the deep connection between her self and the natural environment. Through her photographs and our conversations, Tamika was exploring her personal self as linked within the broader context of the natural world. She in fact was constructing an ecological identity. . . . [P]hoto elicitation helped me unearth and explore the dominant social and environmental practices that support the development of a child‟s ecological identity within the social context of a community garden. (p. 51, emphasis in original) In a Canadian photo-elicitation project, Gary Knowles and Suzanne Thomas of the Centre for Arts-Informed Research at the University of Toronto asked art students at a secondary school in Ottawa, Ontario, to take photos exploring their ―sense-of-place, locatedness, or placelessness‖ in school (2002, p. 124). Knowles and Thomas state that this participatory inquiry project was ―significant since little educational research directly involves students in the gathering, arranging, analyzing, or representing of information related to schools, curriculum, or pedagogy from their perspectives‖ (pp. 124-125). During the study, the students responded to these prompts: 22 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Tell us about your experiences of school. Tell us about your place in school. Tell us about a significant place within or immediately outside the school building. Convey to us how you see yourself in this place. Tell us what you think about school as a place to be. (p. 125) They each created a ―self-portrait, memory map, photo of place, narrative, photo of self-in-place, found object, and a two- or three-dimensional artwork‖ (p. 125). Knowles and Thomas then met with students individually to discuss their works, what they meant to them, and their inquiry processes. The students‘ responses included the following: “I feel that I am not noticed at school.” “I do not look into the camera lens because I don‟t let people see me at school. I am scared of being criticized.” . . . “My portrait is cropped closely around my face to represent the lack of freedom I feel at school.” “I double-exposed the portrait of me in the foreground to emphasize how my place in school is vague and uncertain.” (p. 127) So the students overall expressed a strong disconnect with school as place and a strong sense of not belonging. These results appear to have surprised Knowles and Thomas, although in their discussion they mention the upheavals that had been occurring in Ontario schools. What remains unclear to me is whether the students‘ feelings of not belonging reflected those specific tensions or the longer-term structural issues of schools being impersonal, institutionalized environments. Photovoice Photovoice is a powerful community-based participatory research approach first developed by Caroline Wang of the University of Michigan and Mary Ann Burris of the Ford Foundation (1994, 1997), which they earlier called photo novella. Wang has a doctorate in public health and has used photovoice with numerous communities around the world. Photovoice takes photo-elicitation one step further, turning it into a social action methodology, putting cameras in the hands of children, rural women, grassroots workers, and other constituents with little access to those who make decisions over their lives. Promoting what Brazilian educator Paulo Freire has termed ―education for critical consciousness,‖ [it] allows people to document and discuss their life conditions as they see them. This process of empowerment education also enables community members with little money, power, or status to communicate to policymakers where change must occur. (1994, p. 171) First, participants take photos of their lives and environment; the researchers may or may not ask them to take photos regarding a particular topic. Then participants meet and discuss photos they have taken; at this point, they may themselves identify recurring themes. Finally, the photos and accompanying narratives and emerging themes are presented to policymakers for consideration. In their project, Wang and Burris (1994, 1997) worked with 62 low-income rural women in two counties of the Chinese province of Yunnan. The project had a public health needs-assessment orientation, and ―the county leaders expressed a strong commitment to the underlying goal of community participation‖ (1997, p. 377). Themes that the women participants identified emerging out of their photos and stories, as well as out of additional focus groups and surveys conducted outside the photovoice project, were the burdens and status of women and girls relative to men and boys (including problems with the lack of day care, parents not sending girls to school, and women‘s household chores beyond their massive farming burdens); access to clean water and transportation; and maternal and child health (including problems with the accessibility and quality of village health stations, lack of female village clinicians, and providers‘ attitudes). (1997, p. 382) Their findings were then reported to the county leaders for consideration in policymaking. One of the participants explained about the photo she took of a woman filling water containers: Drinking water is a problem in our mountainous area. The water is not very clean. The water the woman is getting flows from two faucets. The faucet water is pumped up from the pond by the electric power station. Whenever there is a power blackout in our mountainous areas, even the water from these faucets is not available. I wanted to show the difficulty of getting drinking water. (1997, p. 381) 23 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Wang and her colleague Cheri Pies, a professor of public health at the University of California Berkeley, conducted a photovoice project (2004) with 60 residents of Contra Costa County, California (in generally low-income areas of the East Bay region near San Francisco). The project constituted the participatory action research portion of the overall needs assessment which California‘s Maternal and Child Health (MCH) agency was conducting as required by the US federal government. Residents were provided with disposable cameras and were encouraged to take photographs reflecting their views on family, maternal, and child health assets and concerns in their community, and then participated in group discussions about their photographs. Community events were held to enable participants to educate MCH staff and community leaders. (p. 95) Residents were not only enthusiastic about sharing their perspectives, but it turned out that their priorities differed significantly from those of the MCH staff. Whereas the staff had been focusing on improving babies‘ low birth weights and preventing teen pregnancies and maternal deaths, ―[p]articipants‘ concerns centered on the need for safe places for children‘s recreation and for improvement in the broader community environment within county neighborhoods‖ (p. 95). As a result, not only did MCH staff start focusing more on increasing after-school and community service programs for youth as recommended by the participants, but the participants themselves, energized by an increased sense of connection with community, engaged in their own efforts to clean up parks and recreation areas. Some participants also volunteered to continue assisting MCH staff with identifying community needs. In Potchefstroom, North West Province, South Africa, Shan Simmonds and Cornelia Roux of North-West University, together with Ina ter Avest, a Dutch researcher, conducted a photovoice project with schoolgirls focusing on gender equity, gender-based violence, poverty, and HIV/AIDS (2015). The researchers comment that such an approach ―has proved particularly useful in research involving schoolgirls, who are vulnerable and often under-acknowledged research participants‖ (p. 35). In this study, the girls were asked to ―[t]ake photographs of landscapes/objects/people/ situations/symbols anywhere in your school and home environment to express what you perceive and experience as gender equity‖ (p. 38). Each participant then chose five of her photos and discussed with a researcher what each photo represented to her. Afterward, they wrote reflections concerning their experiences of gender equity as well as what they experienced taking the photos. Then in a focus group the girls discussed their photos and stories and identified overarching themes that arose. By participating in the project, the girls became consciously aware of the psychological and tangible effects that societal power differentials had on their lives in terms of gender inequities and violence and socioeconomic and health injustices. While Simmonds, Roux, and ter Avest did not say whether they shared the findings with policymakers, they considered this project photovoice because participation raised the girls‘ consciousness about societal inequities that affected them. Participatory Theatre Participatory theatre (also known as popular or applied theatre) is a family of inquiry approaches in which people collaboratively investigate their experiences, often including the societal power differentials that impact them, and explore ways in which they can proactively instigate change. Boal’s Theatre of the Oppressed Augusto Boal‘s Theatre of the Oppressed serves as the foundation for participatory theatre. Boal was inspired in his work by his contemporary Paolo Freire. (Caroline Wang and Mary Ann Burris were also inspired by Freire in the development of photovoice (1994, 1997).) Both Freire and Boal were Brazilian activists dedicated to helping peasants develop critical consciousness (which Freire in Pedagogy of the Oppressed called ―conscientization‖ (1970/2000)), helping them identify problems in their lives and in their families and communities and then helping them discover a sense of their own agency in bringing about change. Freire and his colleagues did this through literacy education and ―culture circles‖ (1970/2000). Boal did it through participatory theatre. In Boal‘s landmark work Theatre of the Oppressed (1974/1985), he sets forth the philosophical bases of his work, which he develops further in The Rainbow of Desire: The Boal Method of Theatre and Therapy (1995). One of his major arguments is that what he calls ―Aristotle‘s 24 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 coercive system of tragedy‖ has for centuries been used, and is still being used, to disempower audience members through evoking catharsis rather than activating them to work for social change. Boal‘s other books include Games for Actors and Non-Actors (1992/2002), Legislative Theatre (1998), and The Aesthetics of the Oppressed (2006). The various participatory techniques Boal developed include Image Theatre and Forum Theatre. In Image Theatre, participants create images using their own and/or other participants‘ bodies. In Forum Theatre, participants first collaboratively create a play exploring challenges in their community, and then they perform it for an audience of community members; the audience members (whom Boal calls ―spec-actors‖) are encouraged to share their reactions and ideas regarding how change could be effected and even to get up on stage and become one of the actors, trying out their ideas. Kimberly Powell at the Pennsylvania State University had her graduate students use Image Theatre in an in-class workshop to explore their concepts of democracy (Powell & Serriere, 2013). Then her students reenacted the images they had created in several public places on campus. The students asked passersby whether the images reflected what they thought of when they thought of democracy and, if not, to reposition the students‘ bodies in order to create an image that did reflect their sense of democracy. Several undergraduates passing by ended up becoming very interested in the visual and oral discussion and spending quite a bit of time with the group creating new images. [S]tudents [passersby] were asked about their year of study, major, and whether or not they had a chance to discuss democracy in any of their courses . . . . 13 of the 15 students felt that there was no opportunity to discuss democracy on campus or in their academic courses. . . . In fact, three students commented that the Image Theatre performance was one of the few, if not the only, opportunity they had for engaging in a discussion of democracy. (p. 11) Diamond’s Theatre for Living David Diamond, a Canadian actor, playwright, and director in Vancouver, BC, studied with Boal and then, through years of using Theatre of the Oppressed techniques, eventually developed his Theatre for Living approach (Diamond, 2007; Theatre for Living, 2021). What distinguishes Theatre for Living is its non-binary perspective, viewing communities as complex, living systems whose members ALL need to heal cultural patterns of the oppressor and oppressed in their psyches and behavior. Theatre for Living approaches include multi-day workshopping exploring community cultural issues using theatre games, Image Theatre, and Forum Theatre, the latter often presented as public productions inviting audience participation. The Theatre for Living company, originally known as Headlines Theatre, operated from 1981 to 2018. Diamond continues to serve as a workshop facilitator (what Boal calls a ―joker‖) and conduct facilitator trainings. He has facilitated over 650 community projects and trained facilitators throughout the world (Theatre for Living, 2021). Diane Conrad of the University of Alberta (see below) said this about Theatre for Living: I have seen several Theatre for Living shows over the years. I‟m always amazed at how masterful David is at drawing out rich and meaningful dialogue from every moment of every community intervention. This is based in his deep faith that as a living organism a community can heal itself. (Theatre for Living, 2021, “Home” p.) Diamond‘s book, Theatre for Living: The Art and Science of Community-Based Dialogue (2007), describes the Theatre for Living approach in detail. One of the Theatre for Living company‘s many Forum Theatre productions was the 2005 Here and Now, which was ―created and performed by members of the Indo-Canadian community‖ in Vancouver exploring the relationships between youth gang recruitment and involvement and cultural, intergenerational family issues (2021, ―Legacy/Here and Now 2005‖ p.). 25 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Another Theatre for Living production was 2017-18‘s šxʷʔamət, a word from a Musqueam dialect meaning ―home,‖ which was ―created and performed by an Indigenous and non-Indigenous cast‖ (2021, ―Legacy/šxʷʔamət 2018 Tour‖ p.) ―investigating the blockages we all face in making Reconciliation between Indigenous and non-Indigenous people something real and tangible‖ (2021, ―Legacy‖ p.). Indigenous here refers to the peoples of Canada who were present prior to White colonization; they are also referred to as First Nations. Full videos of these and other productions can be found on the Theatre for Living website (2021). Using Multiple Modalities Diane Conrad’s Work With Youth Diane Conrad is a Canadian professor of secondary theatre education at the University of Alberta. She has many years of experience using participatory theatre, narrative and creative writing, visual artmaking, and other arts-based inquiry modalities with rural Indigenous youth, incarcerated Indigenous youth, homeless urban youth, and other communities. In 2009, Conrad was asked by Wallis Kendal of iHuman Youth Society, a nonprofit working with homeless youth in Edmonton, Alberta, to create an arts-based participatory action research (PAR) project to address a need he and Peter Smyth of Edmonton and Area Child and Family Services had identified (Conrad, 2015a, b; Conrad, Smyth, & Kendal, 2015). She said that they were facing challenges in getting youth the help they needed. Wallis felt that social service providers (including educators, health care workers, law enforcement, social workers, etc.) did not understand the youth well and many even feared them. Wallis, Peter, and I agreed to pursue a PAR project aimed at educating service providers with youth as co-researchers. (Conrad, 2015a, p. 14) Out of these discussions emerged the two-year arts-based project known as Youth Uncensored or simply Uncensored. The homeless youth who attended sessions were paid, fed, and given bus tickets, plus childcare was provided. The first few months were devoted to the youth‘s sharing and discussing their experiences with service providers. The themes that arose included: ..relations with law enforcement, educational issues, access to healthcare, the social services system, worker-client relations, family dynamics, and other youth experiences that influenced their encounters with service providers, such as racism, substance use, and personal relationships. (Conrad, 2015a, p. 15) Next, the youth conducted arts-based inquiry into those issues using ―dramatized scenarios . . . , as well as identity collages, stories, poems, raps, zines, drawings, [and] a giant board game, and we photographed and video-recorded many of these‖ (Conrad, 2015a, p. 15). They then presented a total of 26 workshops to service providers at a wide range of Edmonton organizations. The [first] workshop opened with a few youth presenting their songs and poems, then those youth who were interested in performing presented, forum theatre style, a few scenarios depicting negative interactions between youth and service providers. We engaged audience members in identifying points of tension and coming onto the stage to enact alternative interactions trying for more positive outcomes. The workshop[] ended with an opportunity for candid face-to-face dialogue between the youth and service providers. (Conrad, 2015a, p. 16) Conrad reports that in exit surveys and follow-up surveys, Service providers stated that their views of youth had been positively altered. Many claimed that they would thereafter be more comfortable working with this youth population. . . . They saw the youth as having strengths, talents, and well-founded, valuable opinions; they learned that youth wanted both assistance and independence. Service provider participants also felt the arts/drama approach was effective and refreshing in the experiential and expressive engagement it offered. They noted that the dramatized scenarios allowed the youth to portray the reality of their experiences and created a safe space for reflection and meaningful dialogue. (2015a, pp. 17-18) 26 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Conrad also reports that Through positioning the youth as researchers, educators, artists, and performers, the project was having transformative effects on their lives. . . . Among the benefits the youth identified were fun activities, financial and other support, a sense of belonging and a safe space, relationships with other youth and with adult mentors, and a better understanding of their life challenges. The project aided in their recovery[;] it helped them develop a positive self-image and confidence. They felt a sense of accomplishment, had opportunities to challenge themselves, felt listened to and respected by service providers, and had a chance to give back to their community by helping other youth. (2015a, p. 18) My Use of Arts-Based Inquiry in the College Classroom During the spring semester of 2016, I conducted an in-class research project using arts-based identity exploration activities as a pedagogical approach for my dissertation, Undergraduate Identity Exploration Through the Arts: Increasing Self-Awareness and Cultural Sensitivity (Goodyear, 2018a; see also Goodyear, 2016, 2018b). The project was conducted within the Ohio State University general education course ―Visual Culture: Investigating Diversity and Social Justice.‖ This was the fifth and sixth sections I had taught of the course during my PhD program. All 50 undergraduate students I was teaching that semester (two sections of 25 each) chose to participate. All were traditional-age undergraduates, i.e., between the ages of 18 and 24. The sections included both US and international students of various racial and ethnic ancestries, including sophomores, juniors, and seniors from a wide range of majors across campus. The course first leads students in exploring what culture is and in what ways various dimensions of culture—personal, family, relationships, school, larger cultural groups, and society— have influenced their own identity. Then we discuss dominant and non-dominant cultures, stereotypes, prejudice, and structural inequities. Next, students study the histories of civil and social rights struggles in the US. Finally, students explore culture and stereotypes as expressed in popular culture, including movies, TV, advertising, and social media. The course already includes making a self-portrait and a simple personal cultural identity map and writing a personal cultural identity narrative (their life story from a cultural perspective). For my Spring 2016 research, students engaged in eight arts-based identity exploration activities, including the self-portrait and the personal cultural identity narrative but making a more sophisticated personal cultural identity map via a 2D form and a 3D mobile. The other activities included ―My Life‘s Musical Playlist‖ (writing a reflection on the roles favorite songs have played in their lives and relationships), their choice of writing a poem, short story, or song lyrics, creating and performing with a partner a duoethnographic script reader‘s theatre-style in which they explored the similarities and differences in their life experiences, a ―Body as Metaphor‖ body-sculpting activity in which they sculped a metaphor for themselves (―I am a _____‖) using their partner‘s body as clay, and creating a shadow box expressing their hopes and dreams. Some activities were done alone, while others were done with partners. Students then shared what they had created and learned as a result with their classmates as time allowed. After each activity, students wrote reflections on their process and what they learned about themselves and others, and they also completed a short mixed-methods survey assessing the effectiveness of the activity and providing suggestions for improvement. I also conducted ten follow-up interviews at the end of the semester. I analyzed the qualitative and quantitative data thematically and by student demographics and majors. All the students found at least one activity meaningful, most found many of them meaningful, and a few found them all meaningful. Surprisingly, those NOT majoring in the arts or humanities— STEM, business, healthcare, forestry, etc.—actually found the activities MORE meaningful overall, with some expressing gratitude that they finally had had a chance in college to explore their identities. I analyzed the data using various college student development, transformative learning, and multicultural social justice education theories, and I found many instances of students‘ developmental growth, transformative learning, and increased self-awareness and cultural sensitivity. One student later told me that the course and the activities were a ―life-changer.‖ 27 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 In Chapter 4 of my dissertation, I provide a broad overview of the arts-based inquiry field (including the studio arts, arts therapy, and arts-based research arising out of the social sciences), including who does it, with whom, and for what purposes. In Chapter 5, I discuss by modality the many ways in which arts-based inquiry has been used. While these chapters served as two of my literature review chapters, I wrote them from the standpoint of addressing educators in the hope that the information would help them get new ideas they could use in their own classrooms and in community spaces. Conclusion Engaging in arts-based inquiry can result in healing and growth within a person, interpersonally, and within and between groups and communities. Healing and growth can occur both by creating expressive work, alone or together, and by engaging with the work of others. Heron‘s epistemological model (1992), Heron and Reason‘s participatory inquiry paradigm (1997), and Yorks and Kasl‘s ―Expressive Knowing Is a Pathway‖ taxonomy (2006) help us better understand how the arts and creative expression perform this integrative, healing, and growth-producing magic, which can result in greater understanding, empathy, joy, and a shared sense of humanity. References Beat Within, The. (2021). The Beat Within: A Publication of Writing and Art from the Inside. https://www.thebeatwithin.org/ and https://www.facebook.com/thebeatwithin Boal, A. (1985). Theatre of the oppressed (C. A. McBride & M.-O. L. McBride, Trans.). Theatre Communications Group. (Original work published 1974) Boal, A. (1995). The rainbow of desire: The Boal method of theatre and therapy (A. Jackson, Trans.). Routledge. Boal. A. (1998). Legislative theatre (A. Jackson, Trans.). Routledge. Boal, A. (2002). Games for actors and non-actors (A. Jackson, Trans.) (2nd ed.). Routledge. (Original work published 1992) Boal, A. (2006). The aesthetics of the oppressed (A. Jackson, Trans.). Routledge. Conrad, D. (2015a). Education and social innovation: The Youth Uncensored Project—A case study of youth participatory research and cultural democracy in action. Canadian Journal of Education, 38(1), 1-25. https://journals.sfu.ca/cje/index.php/cje-rce/article/view/1774 Conrad, D. (2015b). Research interests. University of Alberta: Diane Conrad‟s web site. https://sites.ualberta.ca/~dhconrad/ResearchPage.html Conrad, D., Smyth, P., & Kendal, W. (2015). Uncensored: Participatory arts-based research with youth. In D. Conrad & A. Sinner (Eds.), Creating together: Participatory, community-based, and collaborative arts practices and scholarship across Canada (pp. 21-38). Wilfred Laurier University Press. Dewey, J. (2005). Art as experience (Perigee trade paperback ed.). Perigee/Berkley/Penguin. (Original work published 1934) Diamond, D. (2007). Theatre for living: The art and science of community-based dialogue. Trafford. Freire, P. (2000). Pedagogy of the oppressed (M. B. Ramos, Trans.) (30th anniversary ed.). Bloomsbury. (Original work published 1970) Goodyear, K. M. (2016). Arts-based research and autoethnography in education: The development of identity and social awareness among K-12 and undergraduate students. Paper presented at the 16th Annual Curriculum & Pedagogy Group Conference, Cleveland, OH. https://osu1.academia.edu/KathleenGoodyear 28 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Goodyear, K. M. (2018a). Undergraduate identity exploration through the arts: Increasing self-awareness and cultural sensitivity [Doctoral dissertation, Ohio State University]. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524015568310808 Goodyear, K. M. (2018b). Using arts-based identity exploration activities with traditional-age undergraduates to promote transformative learning. In M. Welch, V. Marsick, & D. Holt (Eds.), Proceedings, XIII Biennial Transformative Learning Conference: Building transformative community: Exacting possibility in today‟s times, November 7-10, 2018 (pp. 331-334). https://drive.google.com/file/d/1ip4fXbRrEVfPd8dkvBcmCUv9p-rCdTsv/view Grugel, A. (2008). Focusing on the earth: Using photography and photo elicitation as instruments to engage children as coresearchers in a community garden. LEARNing Landscapes, 2(1), 49-67. https://doi.org/10.36510/learnland.v2i1.275 Heron, J. (1992). Feeling and personhood: Psychology in another key. SAGE. Heron, J., & Reason, P. (1997). A participatory inquiry paradigm. Qualitative Inquiry, 3(3), 274-294. Kasl, E., & Yorks, L. (2012). Learning to be what we know: The pivotal role of presentational knowing in transformative learning. In E. W. Taylor & P. Cranton (Eds.), The handbook of transformative learning: Theory, research, and practice (pp. 503-519). Jossey-Bass/Wiley. Kasl, E., & Yorks, L. (2016). Do I really know you? Do you really know me? Empathy amid diversity in differing learning contexts. Adult Education Quarterly, 66(1), 3-20. https://doi.org/10.1177/0741713615606965 Knowles, J. G., & Thomas, S. M. (2002). Artistry, inquiry, and sense-of-place: Secondary school students portrayed in context. In C. Bagley & M. B. Cancienne (Eds.), Dancing the data (pp. 121-132). Peter Lang. Powell, K., & Serriere, S. (2013). Image-based participatory pedagogies: Reimagining social justice. International Journal of Education & the Arts, 14(15), 1-27. http://www.ijea.org/v14n15/ Simmonds, S., Roux, C., & ter Avest, I. (2015). Blurring the boundaries between photovoice and narrative inquiry: A narrative-photovoice methodology for gender-based research. International Journal of Qualitative Methods, 14(3), 33-49. http://ejournals.library.ualberta.ca/index.php/IJQM/article/view/21571/18673 Theatre for Living. (2021). https://www.theatreforliving.com/ Wang, C., & Burris, M. A. (1994). Empowerment through photo novella: Portraits of participation. Health Education Quarterly, 21(2), 171-186. Wang, C., & Burris, M. A. (1997). Photovoice: Concept, methodology, and use for participatory needs assessment. Health Education & Behavior, 24(3), 369-387. Wang, C. C., & Pies, C. A. (2004). Family, maternal, and child health through photovoice. Maternal and Child Health Journal, 8(2), 95-102. https://deepblue.lib.umich.edu/bitstream/handle/2027.42/45326/10995_2004_Article_486733. pdf;sequence=1 Yorks, L., & Kasl, E. (2006). I know more than I can say: A taxonomy for using expressive ways of knowing to foster transformative learning. Journal of Transformative Education, 4(1), 43-64. https://doi.org/10.1177/1541344605283151 29 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Working in Hosting Facilities: Dance and Music as Means of Social Cohesion Olympia Agalianou PhD, National and Kapodistrian University of Athens (N.K.U.A.), oagalianou@ecd.uoa.gr Introduction This paper aims to communicate the experience I gained working on the field of immigrant and refugee education using the arts of music and dance as means of social cohesion and has two parts. In the first one, I briefly mention the reasons that led me to this educational field as an autoethongraphy report. This report aims to help each reader better and more deeply understand the presentation that follows. In the second part, I present the outcomes of my work in this field as a series of suggestions for relevant interventions. Expression through movement (dance) and sound (music) is a universal and timeless human way of expression and communication. Dance and music are by definition, social arts, and that is why participating in their performance should be a right and not a privilege. My long experience as educator and artist in these arts in addition with my studies in dance therapy revealed to me the power of dance and music as means of social cohesion and personal growth. On the other hand, my acquaintance with elemental music and dance education known as Orff –Schulwerk approach, offered me means and techniques I needed to work on the field of community music and dance pursuing social cohesion and peaceful coexistence among different social groups. The humanistic orientation and the idea of working with people of all ages and abilities are inherent in Orff-Schulwerk concept (Shalmon, 2012; Shalmon, 2010). Coming across with immigrants and refugee education Soon I came across with the immigrants who live in my country an later with refugees who were constantly arriving Greece in search of security. Looking back in history, we may easily concluded that population mobility (relocation or resettlement) is a common global phenomenon historically recorded from the 13th century BC and part of it is immigrants and refugees flows, now and in the past. Multicultural societies are also very common throughout history. Some of the most famous cities well known as cultural centers of their era used to be like that. Arguing that we should treat population mobility and multicultural societies as common interdepended phenomena (and not as problems), I recognize the need to deal with them under the historicity of 21st century. That is why our primary task to understand and interpret contemporary conditions and needs of today societies. The geopolitical changes of 1989 in Europe were converted Greece into a host of immigrants mainly from the neighboring Balkan and ex-USSR countries abruptly. The immigrants‘ population was rapidly increased and in 2005, it represented almost 10% of the total residents‘ population (Gropas & Triadafyllidou, 2005).The Greek state used two main tools to integrate immigrant children into the Greek educational system: the Schools of Intercultural Education (S.I.E.) and The Educational Priority Zones (Morning Reception Classes within the public schools). Intercultural schools they were offering education to immigrants‘ students but they had to welcome refugees very often too, especially after 2010. Later on, with the war raging in Syria for over four years, solely in 2015 a great number of refugees crossed the Mediterranean Sea to reach the Greek shores. After 2010 refugees have been coming in Europe mainly from Syria, Afghanistan, Somalia, South Sudan and Iraq (Coogan, 2015).This new educational need led to the gradually establishment of the Reception School Annexes for Refugee Education (R.S.A.R.E.) from 2016 to 2017. Children aged 6 to 12 years old could attend primary school, children aged 13 to 15 years-old could attend Secondary schools and kindergarten programs within the Accommodation Centers worked within the Accommodation Centers. This model lasts until the end of 2019. Pandemic of covid-19 changed dramatically the situation in refugee education. 30 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 My initial motivation to involve myself in this field emerged in 2011 when I noticed an increase of xenophobic behavior in my country because of the financial crisis in combination with the raise of refugee and immigrant flows. In 2011, I began organizing projects among mainstream and intercultural schools in cooperation with my colleague and friend Gelly Aroni who was already experienced in immigrant‘s education. She is an expert in intercultural education and found my idea of utilizing dance and music in this field very interesting. We both agreed it is an educational duty to assist all students, from both minority and majority, to cope effectively with nowadays‘ multicultural society and utilize coexistence for their personal development and citizenship growth (Council of Europe, 2008) supporting social cohesion. The Council of Europe defines social cohesion as the capacity of a society to ensure the welfare of all its members, minimizing disparities and avoiding polarization. A cohesive society is a mutually supportive community of free individuals pursuing these common goals by democratic means (Council of Europe, 2008). According these objectives, in 2011 we began organizing projects bringing together students from a mainstream primary school and the two Intercultural primary schools of Athens region using dance and music for building relationships and strengthening their peaceful coexistence. In 2015, I start working in hosting facilities and soon, under the extreme pressure of the facts, I joined the Solidarity Network of the Department of Primary Education of the University of Athens that was an initiative of Prof. Iro Mylonakou who is a researcher in the social pedagogy field (Mylonakou-Keke (2018). My task was to train (or help) students and teachers to work in hosting facilities and Refugee Education in general. That was the starting point for shaping a number of ideas and suggestions for this kind of work, which I present in the following section. The years that followed, I worked with many institutions that focused on refugees. Before I start presenting my ideas, I would like make clear that, it is about a work in process and not an end up fixed proposal. I continue working on these them mainly running research on the fields of community music and dance extending these ideas to hosting facilities with other socially excluded groups seeking social cohesion. My first realization working in hosting facilities was the huge difference between immigrant and refugee population. An immigrant has decided to live permanently in a foreign country for economic, political or other reasons. The most of the times it is not an easy choice but in any case is considered as a personal and free decision. On the other hand, a refugee is someone who has been forced to flee his or her country because of persecution, war or violence. A refugee has a well-founded fear of persecution for reasons of race, religion, nationality, political opinion or membership in a particular social group. Most likely, they cannot return home or are afraid to do so. I also found out that in hosting facilities we meet: an unstable, fluid population in terms of number, place and conditions of residence in the country, diversity within the refugee population, different social and cultural characteristics, different financial and educational capital and of course many spoken languages. My intention was to develop an intercultural dialog in hosting facilities. I wish I could involve Greek society in this dialogue but this was not possible during the first period of the first reception or the first settlement in the accommodation centers. I strongly argue that working with refugees and social excluded people in general to focus on solidarity not on charity. These people need our help and not our pity or alms. They need to feel decent, respectful, and responsible. This is the only way to coexist in piece. Intercultural dialogue is a process that comprises an open and respectful exchange of views between individuals and groups with different cultural backgrounds. Among its aims are to develop a deeper understanding of diverse worldviews and practices; to increase participation and the freedom to make choices; to foster equality; and to enhance creative processes. Dance and music in the field of refugee education “Dance through its expressive and communicative qualities allows us to be more conscious of ourselves and of the world around us in a unique way. It gives us opportunities to celebrate diversity‖ (Gough, 1999:19). Dance and music are universal ways of expression and a social channel of communicating, means, needs and ideas. Based on the ideas of Andrea Sangiorgio (2010) I would support that the sematic ambiguity of music and dance music makes them possible to act as means of non-verbal communication and as an aesthetical and emotional experience full of social meanings ready for 31 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 processing (embodied experience). Blom & Chaplin (1982: 173) underline that “one of the finest pleasures in life is dancing with others, with one special person or as a part of a group” and we could say the same for playing music with the others. My idea was to work through dance and music and not for dance and music. Soon I decided to avoid any music and dance with distinct cultural, ethnic, social, historical and anthropological characteristics. I found out that some refugees (or immigrants) might feel unconformable with this kind of material. Such music and dance is likely to expose them to emotional regression or reactivate their collective trauma or any trauma. It is also possible to trigger rivalries among refugees. In addition, it is not easy for any facilitator to remain simple and take care the aesthetics of the process having to deal with so many musical idioms. Music and dance are not universal languages but universal means of expression and communication. After 19th century, many times we give to music national and not cultural identity. My intention was the equal approach of all different cultures in order to give opportunities to work and create together for that I decided to work with creative approaches arguing that music (and dance) making is a way to retrain people to take back the control of their selves as much as possible. Refugees (and socially excluded people) have experienced unpleasant and painful situations making them to feel helpless because they have lost control of their living conditions. We have to retrain them in order to take back the control of their selves and lives as much as possible. Music (and dance) making process is an opportunity to relearn how to make decisions, exchange ideas or expand them; an opportunity to experience the influence to the outcome of a decisions or actions directly through the senses (hearing, sight and kinesthesia). Working with creativity it is important to keep in mind the wisdom of simplicity and the charm of multimodal expansion. We also need to base on teamwork aiming the relationships and using informal learning. It is also very important to focus on process and take care the aesthetics of the outcomes. Based on these principles and ideas, I put myself to the task to scaffolding a potential process for each one who wish to work in refugee filed (or any social excluded group) using dance and music as means of social cohesion and peaceful coexistence. I had to find a way to introduce activities in a way that ensure the right of participation for everyone wishes to take part. I had also to make my session attractive and able to welcome new members every time because refugees is an unstable, fluid population in terms of number, place and conditions of residence in the country. It was also important to give opportunities and impulses for expression and creation to everyone gradually moving from the improvisation to composition and from the individual to the group. I drew great inspiration from Blom and Chaplin who support that “Improvisation is a way of tapping the stream of the subconscious without intellectual censorship… and emerges as an inner-directed movement response to an image, an idea or a sensory stimulus” (1982:6). Scaffolding a for a four-part session Among several approaches in bibliography, I was attracted by Giess-Stüber‘s (2010) guiding principles for planning intercultural activities. She refers mostly to Physical Education interventions although I found her suggestions very helpful for my work. She is influenced by sociology of strangeness, the identity theory, social psychology and social constructive approach and recommends four parts‘ sessions: a) the experience of strangeness as a starting point, b) team tasks as challenges, c) experience of recognition and belonging and d) reflection on the experience of strangeness. In the first part, I try to make a contact through the senses of hearing, sight and kinesthesia using group activities in the circle mainly based on mirroring or other imitation forms of movement, rhythm and vocals. Sequential imitation activities help to develop an informal non-verbal dialogue between the facilitator and the participants. On the other hand, sound coordination, especially when it is based on rhythm and / or voice enhances the sense of togetherness. I also use simple rhythmical locomotion or games trying to let everyone to feel the others, without real contact. I work mainly in the circle to facilitate the eye contact and delimit the space. In addition, a steady start to meetings in the circle with similar activities gradually acquires a ritual dimension that reinforces the sense of security and easily allows new members to join the group. The second part of Giess-Stüber‘s guiding principles made me think about how people move on from the individuality to the group and from each own activity to teamwork and togetherness. What 32 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 particularly preoccupied me was the preconditions for a meaningful encounter full of interaction, exchange, and creation. My work with the refugees revealed to me the importance of the individual's readiness to meet with someone else having enough space to express and create in this relationship. Working with different types of groups, I have identified two points that I should take care before proceeding to any meeting between individuals who I wish to help them to communicate, interact and express themselves. The first refers to the reason of moving on to a meeting. Everyone needs a reason to get in touch with another person It is essential for the person to have something to say or exchange in a possible meeting because only then does someone wish to meet another person and only then can coexist in equally with the person he will meet. The second refers to the space that someone needs to communicate his/her idea or opinion at least once and this is not easy in a group. Ι tried to meet the above needs starting from the individual and gradually moving to work in pairs and later on to larger groups taking care of the complexity of the relationship. Specifically I start the second part of the session with personal guided exploration/improvisation in a theme, an idea, a concept, a music, a song, a dance etc. giving the opportunity to the individuals to invent their own ideas or music and dance material. When everyone has font or invent something it is time to meet someone else in order to exchange this material or idea. This would be the reason to meet but it also a demanding task because it requires choices and decision making process. Next, I proceed to the formation of random pairs among the participants using some suitable games. The way from individual to pairs may have many variations. Work in pairs is a very important stage and I stay in it as long as necessary, even for the whole meeting. This kind of work gives to everyone the opportunity to express and exchange his or her ideas at least once. It is also a way to reduce complexity of the relationships that has an exponential increase with each individual being added to a group. The complexity function rendered mathematically as n²-n, where ‗n‘ are the individuals participating in a group, and expresses the potential relationships. It is easily to conclude how important the number of the participants in a group is. I shape larger groups of four bringing together two pairs. This is another form of pairs in which each pair initially functions as a unit and gradually teamwork is released. In conclusion, I start Giess-Stüber‘s team asks as challenges from individual activities to work in pairs and shaping larger group very carefully trying to reduce complexity. The third part comes when the participants are ready to move forward. Experience of recognition and belonging comes through teamwork and the performance of the outcomes to the plenary as mini performances. The organization of this phase depends on the participants and could take place even with work in pairs and not larger groups or even performing individual improvisations with the participants being divided into two groups, audience and performers, who change roles. These mini performances are full of emotions, exchanges and an opportunity of softly and safety exposure that offers the experience of belonging. The last but not least part, the reflection on the experience of strangeness is the most difficult with refugee population. Reflection helps everyone to capitalize the experience but usually requires verbal communication that it almost impossible among refugees. At least it is not possible to be guided of a facilitator who does not speak at least the most common language among the refugee group. I tried to develop ways of nonverbal reflection or combinations that require minimal speech. Most of them were based on painting or sculpture activities or collective crafts. I never skip this step because “the combination of the emotional change and the reflective procedure might led an individual to a deeper questioning, which help him/her to discover personal initial acceptances obtained through unconscious processes‖ (Magos, K. and Tsouvala, 2011, 63). The facilitator No approach may work if the facilitator or teacher is not ready to be in this field. Facilitators who wish to work with any vulnerable population in addition to music, dance and teaching skills need a theoretical framework and proper attitude. It is the duty of each facilitator to develop his/her personal theory through critical study and comprehensive information. In terms of formulating an appropriate attitude, my proposal focuses on Carl Rogers‘s person-centered theory and the humanistic conception on the attitudes of therapists and teachers. Rogers sees knowledge as changing process that take place through the experience of the relationships and people as a fluid growth of creation rather than a fixed 33 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 entity (Rogers, 1995, 1983). Rogers names three attitudinal qualities in the personal relationship between the therapist or facilitator and any kind of leaner. The first attitude based on a direct personal encounter with the learner, meeting him / her on a person-to-person basis with presence, authenticity and awareness. The second one refers to acceptance, caring and trust. This means an unconditional positive regard and acceptance toward whatever the participant is "at that moment‖ in a total rather than a conditional way. This kind of acceptance based on the true belief that everyone can succeed leads the facilitator to genuine appreciation. Such a facilitator can accept all kinds of feelings and recognizes the participants as an imperfect human being with many feelings and potential. The last but not least quality is the empathic understanding. This is happening when the facilitator has the ability to understand the participant‘s reactions from the inside with sensitive awareness and feel ―like‖ them. The attitude of standing ―in the other‘s shoes‖ of viewing the world through the refugees eyes (or other socially marginalized people), is rare but has a tremendously releasing effect when it occurs. This kind of understanding is sharply different from the usual evaluative understanding, which follows the pattern of ―I understand what is wrong with you‖. Epilogue To conclude, I could could argue that a carefully structured program based on dance, music can assist refugees, and other social excluded people to come closer, find out peaceful and fruitful ways to relate to each other, strengthen cohesion and improve coexistence as well as foster their personal growth. It is not but true that not all activities that comes under the general title of dance and music are of equal value in creating a healthy, knowledge based society (Maldoom, 2007). On the other hand, my ideas and suggestions are certainly not the only suitable way to work with refugees and vulnerable populations in general. This is my style and my ideas that I tried to document and describe having the willing to share them I would like to close this paper with some thoughts from my experience in the field that are briefly expressed mainly as a reflection than as outcomes. Attitudes do not change easy; communication is the point; collaboration does not mean conformity or concord; coexistence with diversity is not something new; dance and music may help to coexist in peace. References Blom, L.A. and Chaplin, L.T. 1982. The Intimate Act of Choreography. London: University Pittsburg Press. Coogan, C. 2015. ―Art as refugee‖. Orff-Schulwerk Heute, Elementare Musik- und Tanzpädagogik Elemental Music and Dance Pedagogy 93, 38-43 Council of Europe. 2008. White paper on Intercultural Dialogue: Linivng Together as Equals in Dignity. Council of Europe Ministers of Foreign Affairs at their 118th Ministerial Session. Council of Europe: Strasbourg. Giess-Stüber, P. 2010. Development of Intercultural Skills through Sport and Physical Education in Europe in Sport Facing the Test of Cultural Diversity, Interaction and Intercultural Dialogue in Europe: analysis and practical examples. Strasbourg: Council of Europe Publishing. Gough, M.1999. Knowing Dance: a guide for creative teaching. London: Dance Books. Gropas R. and Triantafyllidou A. 2005. Migration in Greece at a glance. Athens: ELIAMEP Hellenic Foundation for European and Foreign Policy. Magos, K. & Tsouvala, M. 2011. ―Dancing with the ‗other‘: An action research project in a children‘s social care institution‖. Action Research in Education, 2, 62-70. 34 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Maldoom, R. 2007. ―Community Dance-Concept and Practice‖. In In Dialogue: Elemental Music and Dance Education in Interdisciplinary Contexts, Orff-Schulwerk Symposium 2006 edited by Barbara Haselbach, Michaela Grüner, Shirley Salmon Mainz: Shott, Mainz: Schott,306-319. Mylonakou-Keke, I. (2018). A social Pedagogical Intervention Model (Spim4Rest): A Human Rights Education Model for Refugee Children and Families. In (ed. A.Z. Giotsa) Human Rights in a Changing World: Research and Applied Approaches (p.p.121-138). UK: Nova Science Publishers. Rogers, C. (1995) On Becoming a Person: a Therapist‘s View of Psychotherapy. New York: Houghton Mifflin Company. Rogers, C. (1983). Freedom to Learn for the 80's. U.S.A: C. E.Merrill Publ Co. Salmon, S. 2012. ―Musica Humana – thoughts on humanistic aspects of Orff-Schulwerk‖. OrffSchulwerk Informationen 87, 13-19. Salmon, S. 2010. ―Inclusion and Orff-Schulwerk‖. Journal of the Australian Council of Orff Schulwerk. 15, 27-33. Sangiorgio, A. 2010. ―Orff-Schulwerk as anthropology of music. Orffinfo OrffSchulwerk Egitim ve Danismanlik Merkezi Türkiye. 16, 6-21. 35 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The concept of flow in art therapy: a vignette of a woman with intellectual disability who self-harms. A heuristic study. Frances Hassett University of Limerick, frances.hassett@gmail.com Abstract As well as living with different levels of impaired cognition, the overarching classification of intellectual disability encompasses people living with a diverse range of physical and mental health conditions. Shared characteristics of this group are behavioural challenges that include aggression, anger, disaffection, communication impairment, and self-harm. The misconception exists that difficult behaviour is a manifestation of the original intellectual disability. However, it is now documented that people living with an intellectual disability (PWID) experience more profound and complex mental health problems than the population at large and require specialist treatment. This is a group of people whose lives have been sequestered. They experience stigmatisation and societal hegemony emblematic of a secondary, and often more profound disability that can affect their long-term mental wellbeing. Art therapy has a long history of working with PWID. Over the generations, art therapy has evolved as a response to changing attitudes. In the past, emphasis was placed on the role of art therapy to improve intellectual aptitude. During the last 30 years, the role of art therapy has developed to become emancipatory and attuned to facilitate people‘s quality of life. This study is heuristic and examines the concept of ―flow‖ and its implications in art therapy working with an adult woman with an intellectual disability who self-harms. The study took place over 3 years within a congregational setting based in rural Ireland. Csikszentmihalyi (1992) examined the precursors that result in people finding happiness. Csikszentmihalyi found that those who experience ‗‗flow‘‘ could also apply it to improving other areas of their lives, to cope with stress, and find meaning. If ‗‗flow‘‘ can reinforce the self, reduce stress and make life meaningful, an awareness of ‗‗flow‘‘ in art therapy practice should be an essential component to the work for both client and therapist in finding meaning. This surely then is the basis of achieving healing through art therapy. Introduction In presenting a vignette of Maria, anonymised, I will define the major themes with respect to my work as an art therapist. I will elucidate the ideas behind flow; the issues surrounding the epidemiology of self-harm or SIB, in relation to living with an intellectual disability, and finally, I will examine the therapeutic elements and epistemology of art therapy to draw a conclusion as to the benefits it offers in managing Maria‘s aetiology. To our notion, the word asylum is an ugly word. In modern parlance congregation centre is more friendly. Those of you familiar with Clifford Goffman‘s (1961) work of the same name will understand the societal ramification of such places. People with intellectual disabilities (PWID) are segregated, and being hidden from our view, we have little knowledge of their existence, their lives, or indeed the pain, suffering and frustration born out of denied lives. Mental health issues can become confused with overt challenging behaviour and SIB could be described poetically as an outward manifestation of Munch‘s scream. 36 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Edvard Munch; The Scream (1893, Wikipedia: https://en.wikipedia.org/wiki/The_Scream) Maria was referred for art therapy. She was moderately intellectually disabled, self-harmed, had anger issues and was considered aggressively anti-social. Her body was covered in scars and sores she had a severe speech impairment and was partially deaf. My studio was situated in a congregational centre for PWID in rural Ireland. I worked with Maria, firstly as an MA student, and later as a volunteer after an absence of 2 months. During our time together, I noticed a change in her demeanour, in the images she created, and the incidence of self-harming. I wanted to explore the aspect of art therapy that acted as her catalyst for change, and in particular the concept of flow based on Csikszentmilhalyi‘s (1992) work. Csikszentmilhalyi argued flow is a condition manifesting when someone becomes so selfabsorbed in an activity, that even time stands still. They lose themselves, their identity and leave their minds to embrace a fantasy far greater. A conscious awareness begins to develop. They make a discovery; their minds are no longer in control of their thought patterns. The unfettered mind can be described like a runaway train and the more we allow it unrestrained control the less able we are to bring peace and harmony into our lives, the precursors to our own self-healing. My belief is that Maria did experience flow during the latter stages of art therapy. However, I believe my presence was a key component, and the relationship we had established. I do not feel she had developed sufficient ego-strength to consciously command her emotional pain for more than a few short moments leading to a continuation of SIB. It was sad to observe on my return to the centre as a volunteer she was again self-harming. 37 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The very first creation. Maria was so happy with herself. Main Arguments The metaphysical properties of flow have been seen to be a major component of art therapy with the attendant capacity of transforming trauma and other psychiatric conditions affecting the mental well-being of individuals. Flow is also the force behind the practice of mindfulness meditation and Yoga. Sports personalities and artists alike talk about experiencing flow when they are completely absorbed in their activities (Warren 2007). Csikszentmilhalyi has attracted attention because his work has been viewed as making a major contribution to the understanding of happiness with the objective of improving a person‘s quality of life. This is a useful concept particularly working in clinical and forensic settings to instil mental wellbeing to PWID. Flow is seen to exist behind the process of artmaking and creativity. Shaun McNiff et al (2004), write about art therapy as a modern-day version of shamanism and the intrinsic culture of first nations peoples such as the Lakota Indians. Shamans are seers and healers, holding communities together with their wisdom and storytelling. Today, emotional intelligence, and highly prised by business is a shamanic characteristic of which flow is a major component. McNiff (2004:5) recounts how he found that the core process of healing through art involves the nurturing and release of the creative spirit to give space to whatever needed transformation. In the modern industrial world, art therapy fills the void to provide the opportunity to reengage with ourselves at the soul level to achieve flow as the foundation to understanding who we truly are. The combination of self-harm and intellectual disability are a heady mixture of multiple difficult behaviours and a variety of aetiologies which can be brutally embedded in the person engaged in such practices. Self-injurious behaviour (SIB) can be defined as behaviour in which a person harms or attempts to harm themselves deliberately and physically with typical examples such as head-banging, self-biting, and self-scratching and sometimes with the help of a sharp instrument. SIB puts the individual at risk in a physical, psychological, and social way with prevalence rates of nearly 5% in a 38 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 population-based cohort of PWID. In therapeutic work, of prime consideration is the person‘s presenting intellectual disability and their antecedent biography to elicit their extreme emotional patterns (Davies and Oliver 2011). PWID are shown to exhibit various forms of SIB (genetic, biological, psychological, environmental or a amalgamation of these). An association has been found between SIB and several syndromes and psychiatric conditions (BPD, Bi-polar, and depressive disorder). There is now an increasing recognition of the cause and function of SIB to provide a rich source of information about the setting and conditions. Research has shown that SIB is mostly supported by escape, attention, and automatic reinforcement (Bogaard et al 2018). A literature search shows that PWID are culturally and socially distinct from the normalised population. Their alterity draws a difference based on their clinical diagnosis. The WHO classifies intellectual disability to mean a significantly lowered ability to understand new or complex information and to learn and apply new skills (impaired intelligence). This results in a reduced ability to cope independently (impaired social functioning), and begins before adulthood, with a lasting effect on development. However, this classification does not adequately describe the complexities that constitute an individual‘s psychology from within this group. Traditionally PWID have been regarded as divergent from society and have been commonly ghettoised into what are called, congregational settings. Several texts illustrate that PWID are aware of their collective identity. Beart (2004) and Patterson (2007) made the connection between the label of intellectual disability and stigmatisation. Kuczac (1998) talked about a client wanting to be like him. He compared the ontology of having an intellectual disability to experiencing the loss of a loved one, and in this respect, a life that has not been lived (Bicknell 1983, Hollins and Esterhuyzen 1997, Oswin 2005, and Dee 2012). There is a diverse literature, although seemingly fragmented. Overall, it is recognised there are a lack of studies examining the issues of mental health among PWID and in relation to the role art therapy can play (Bull and O‘Farrell 2012 and Read 2014). Highlighted are the socially disempowering and stigmatising care structures that have been prevalent for PWID in separated communities. Regardless of a change in policy direction, current services are nevertheless built on the bedrock of a past culture that carries the essence of discrimination and disenfranchisement. To change the mind-set, there is a need for a change in epistemology and a move away from the positivist approach of western psychology and the principle of individuation to adopt a non-dualist methodology, which goes beyond the belief in the conditional and conventional conceptual mind (Iriarte, O‘Brian, McConkey, Wolfe and O‘Doherty 2014 and Harris 2006). There are many circumstances that shape our perceptions of life as we live it, not least our primary experience and how we were brought into the world and cared for. Many of these events were beyond our control and yet, we still have a choice as to how to respond to life. Frankl (1992) wrote Man‘s Search for meaning as an epitaph to the time he spent in Auschwitz as an Austrian Jew. He survived while countless others perished leading him, as a psychiatrist, to extrapolate that there had to be a meaning behind these extreme terrors that ultimately determined the fate of those incarcerated there. He observed that it was those detainees who donated their last piece of bread or comforted others that survived the longest. This offered him evidence that the human spirit was indomitable even when everything, our identity, dignity, and our lives had been stripped away, we could still choose how to respond to any given set of circumstances in which we found ourselves. As an example of the power of art, Silverstone (1997) points to the pictures created by the children interned at the Nazi transfer camp in Czechoslovakia, Terezin, during the second world war. Frederika Dicker-Brandeis was an Austrian artist who organised the clandestine classes for the children. She was later to be murdered in Auschwitz. She understood the healing ability of art in life‘s darkest moments. Some of the children’s art from Terezin 39 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 How we feel about ourselves, and the joy we get from living, ultimately depend directly on how the mind filters, and interpret everyday experiences. Csikszentmilhalyi observed that we are constantly seeking happiness and concluded that this outward preoccupation ends in a wasted effort as its attainment is a virtually unobtainable goal. What is needed, however, is a change in how we occupy and relate to the world around us. Whether we are happy depends on our personal inner harmony, not on the controls we are able to exert over our dominions. Flow creates the opportunity to find inner peace, what Csikszentmilhalyi called OPTIMUM EXPERIENCE. A feeling such as an artist when there is a magnetic connection between the painter and canvas. It can be as simple as listening to bird song. Csikszentmilhalyi believe, flow becomes a conscious action directed towards overcoming obstacles and maintaining a sense of fulfilment in whatever situation (Warren 2007). ―Don‘t guess my happiness,‖ the subtitle of a book edited by Bull and O‘Farrell (2012) is about art therapy working with intellectually disabled adults. O‘Farrell remembered this statement being the protest of a young and frustrated man in his twenties, Adam, who was trying to find meaning and purpose in his life. For Adam, his outrage could be that no one has been able to find happiness for him as an intellectually disabled young man. O‘Farrell in addressing the social and emotional landscape of PWID listed the major themes defining their lives. As Freud saw, the two tyrants that fought for the control of the mind were the id and the super ego, the first a servant of the genes, the second a lackey of society both representing the other. Opposing them was the ego, which stood for the genuine needs of the self-connected to its concrete environment (Freud 1920). Adult irrationality is often the result of childhood trauma (Van de Kolk 2014 and Mahler, Bergman and Pine 1972). The lack of inner order manifests itself in the subjective condition that some call ontological anxiety, or existential dread. Basically, it is a fear of being, a feeling that there is no meaning to life and that existence is not worth going on with. Nothing seems to make sense. To overcome anxiety and depression a person must learn to reward themself. The challenge is to find enjoyment and purpose. Achieving control over experience requires a change in attitude. Caught in the treadmill of social controls, that person keeps reaching for a prize that always dissolves in their hands. Social messages make us dependent on a social system that exploits our energies for its own purposes. The solution is to gradually become free of societal rewards and learn how to substitute for them rewards that are under one‘s own power (Ragley 2004). Sinason wrote in 1992, ―PWID are disregarded and treated as a people apart‖. She asserted that PWID experience more compound patterns of mental health problems than the ―normalised‖ population. The Irish longitudinal study on aging (2011) found that 47% of adults over 40 years had 40 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 emotional, nervous, or psychiatric conditions (McCarron et al 2011). PWID have also been reported to have higher rates of both challenging behaviour and autism spectrum disorders. Concomitantly, they are a group identified as being least supported by mental health care service provision. Despite identifying their higher mental health needs they face huge barriers in accessing the specialist health care they require which includes recognising the psychiatric conditions and diagnostic overshadowing. Fennell and Jones (1998:185) showed that when we place people in a group, we can consider them as a race apart so that they can be treated separately from society. Swain (1989:109) identified that people living with an intellectual disability learnt helplessness, which in turn was perceived as responsible for the high incidence of low self-esteem and anxious compliance with the accompanying lack of assertiveness and self-advocacy amongst the population. Sinason highlighted that the nomenclature of intellectual disability has changed once every 10 years thereby disenfranchising this group. It is widely accepted that certain factors associated with having an intellectual disability can leave them more susceptible to developing mental health problems. Rees (1998: xvii): • Limited ways of coping with stress. • Multiple life events – the death of a parent and compounded by the removal from the family home to live amongst strangers. • Side effects of neurological problems associated with intellectual disabilities, such as brain damage and epilepsy. • Lack of informal support networks. • Vulnerable to physical, sexual, and financial abuse. • Systematic disempowerment that is lack of opportunity to exercise full rights as a citizen to partake in culturally valued roles; and • Enforced dependency and lack of autonomy have a profound effect on the life of a person with an intellectual disability; they may have little choice over the course of their lives and their support networks usually consist primarily of people who are paid to be with them.‖ It has been acknowledged that written transcripts and analysis cannot faithfully embody the lives of adults with intellectual disabilities. These areas of research are not representative of the firstperson voices of those under investigation. There are many barriers to undertaking meaningful research that authentically present the teleology of the lives of adults with intellectual disabilities: • The fact that those described living with an Intellectual Disability are not a homogeneous group. • Experiencing difficulties in articulation. • Experiencing difficulties in communication. • Have somatic and mental health disabilities, and are • Subject of societal hegemony creating unequal power structures. (Bicknell 1983) There are many examples where the first disability is overshadowed. Guilt is huge as, particularly children believe they caused their disability. Parent‘s overprotection can also inhibit their development and research shows that children with intellectual disabilities have higher rates of behaviour problems and can interfere with a child‘s capacity to benefit from learning opportunities. Parental stress above and beyond the child‘s level of developmental delay or cognitive status also has implications here (Bicknell 1983). Self-harm is seen as part of the continuum of challenging behaviour exhibited by PWID. This is not a diagnosis in itself but an indicator that such behaviour is a challenge to services, family members or Carers. This behaviour may include aggression, self-injury, and disruptive behaviour. Self-injury is defined as `the deliberate alteration or destruction of body tissue without a conscious attempt to die' and as `a purposeful, if morbid, act of self-help'. As well as having implications for practitioner 41 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 response, specifying such a syndrome' might assist epidemiological studies and underpin the exploration of links with other pathologies, for example, eating disorders and substance and alcohol abuse. Several have noted overlaps between these various pathologies. They seem to belong in the same `family', in that each involves distortions of somatic self-expression and conscious behaviours antithetical to a normal concern for self-conservation and self-care (Davies and Oliver, 2011). People with ID who also have communication difficulties, autism, sensory impairments, and physical or mental health problems may be more likely to develop challenging behaviour and a precursor to SIB. Self-harm may occur during dissociative experiences and often brings relief by reaffirming the ability to feel or by expiating the individual's sense of being vile McClintock (2003). Maria‘s SIB was her way of expressing the profound emotional pain she was experiencing and was one of many behavioural issues that had to be managed professionally. Despite efforts to overcome this behaviour through a system of rewards and penalties nothing worked. Maria‘s sensitivity to the slightest challenge could trigger a self-harming event, and the only method of control was to physically hold her until it passed. Hidden from view, and armed with the appropriate means, she would dig away, rub, or scratch her skin to create a sizable bloody hole while cutting her hair off. For Maria, the SIB could be described analogous to flow. SIB assuaged the difficult and deep emotions that threatened to annihilate Maria, this was the only form of self-soothing available to her. Different studies have shown a positive correlation between undertaking arts therapies and enhanced cognition. This has manifested in • A reduction in disabling behavioural attributes. • Enhanced social relationships • Improved cognitive skills • A diminution of mental health problems such as depression and anxiety (Fox 1998, and Hamilton et al 2004) Art therapy has an extensive history of working with PWID as a reflexive and encouraging therapeutic intervention and works profoundly at an intuitive level with those who find verbal expression challenging. Several studies have documented the history of care for PWID and how the approach of art therapy has responded to the changing culture of care. However, identified are few studies providing a comprehensive record of the many methods and ways of being art therapists have crafted and contributed over the generations of working therapeutically with PWID. The person‘s intellectual disability in therapeutic work is considered essential and to reflect on how this has contributed to managing their emotional difficulties (Tipple 1994). Art therapy offers the opportunity to be present with a client therapeutically working within the didactics of a number of different methodologies. The aim is to facilitate an appraisal of the myriad psychoses affecting a person‘s relationship to their world through the creative art they make. The therapist provides a mirrored lens through which to illuminate the emotions which emerge in the visual contents of an image or the visceral sensations of modelling and holding a clay figurine. Working with PWID the therapist attunes to the somatic sensations they may experience in the relationship and perhaps this is all there is to work with. Transference can become a master tool in helping to decipher how actions play out in the art studio, as verbal communication cannot often be relied upon. In peeling back, the emotional layers in an effort to help a client understand and accept their life path, for someone living with an intellectual disability, the encounter can be too painful or bewildering for them to gain any tangible benefits of a life changing nature. Studies have shown that art therapists can spend many years working with a single client before any perceptible change is recorded. Art therapy has to adapt to the needs of their clients to go beyond this impasse and to find other ways of helping clients beyond the safety net of an art studio. On the one hand, the art studio becomes the sanctuary for a person unwittingly escaping from a hostile world and on another, it can help by offering another lens through which to view the world, one that is less threatening. Art therapy is where the two worlds can come together, and where a client with intellectual disabilities can find new ground on which to stand as a metaphorical refuge and one, they can create and carry with them. Art therapists working with PWID in congregational centres frequently encounter chaos, frustration, and change. Staff can be as stressed as their clients in a system typified by high staff turn42 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 over, insufficient staff numbers, inadequate funding, with an attendant reliance on fund raising campaigns to meet financial short-falls and the possibility of daily crises erupting at any moment. staff and helpers do the best they can, but often with little time to engage clients in meaningful relationships and meeting more challenging needs. If a disaster occurs it can be all hands to the deck. In the meantime, problems can take place in another part of the building as other clients suddenly find themselves abandoned and neglected. The provision of art therapy for those clients with distinct symptomatic mental health needs requires the approach to be dexterous and responsive to changing circumstances, extremes of distress, misunderstandings, and changes in schedules. The art studio is not a privileged setting, and you become used to people wandering in and out, so ethics, privacy and other professional standards become difficult to maintain. The experience, in many respects, exemplifies the life experience of many of the clients as their lives are often characterised by disruption, change and a lack of autonomy. It was here that Maria, and others came to create and escape (Kay 2003). In our first art therapy session I found Maria to be very engaging and cheerful. I found it difficult to understand her language. When I told her of my problem and that I would work hard to overcome it, she nodded vigorously to show she understood. She was very inquisitive, picking things up and laughing. I had a 12-kilo bag of clay which she chose to work with. With difficulty, she took a large lump and placing on the work-board she stuck the clay modelling tools in it and sat there with a broad satisfied grin. This presented me with a problem as the tools would be needed by other attendees at the studio. As gently as I could, I explained the situation and made some strips out of cardboard. She was happy with these and with my help she replaced the tools with these and painted them black. I wanted to elicit how she felt before and after the art therapy session and to do this I gave her a set of emotion cards with pictures and words. She chose three: depression, loneliness and anger and she looked at me with another broad grin on her face. At the end of the session, I again gave her the cards and she chose the same ones. The paradox for me was that her facial expression and demeanour was one of happiness and exuberance whereas the cards expressed profoundly disturbed emotions. Maria is in her middle age. She wants to live at home but her mother cannot cope and so she lives in the hostel adjacent to the centre. She goes home at weekends when her sister collects her. Her mother is intellectually disabled with a speech impairment as are her 5 brothers and sisters except for one sister. Maria was rejected by her mother from birth and the relationship has never been good. Maria always carried a personal notebook and pencils in which she demanded you to write your name and do a drawing. Maria did not engage well with activities or indeed other people and wandered 43 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 around the centre aimlessly. It is highly likely she has obsessive compulsive disorder although this was never diagnosed. Maria‘s characteristic style of working with art materials was to make bold and vigorous movements. With clay, she would slap, hit, and roll the clay until she had what she wanted. Paint would be layered on with a combination of broad-brush strokes and spirited dabbing, sometimes pouring on the paint straight from the bottle, and then using a brush to guide the liquid. If paint or another medium spilled onto another surface or the floor this became a source of great amusement. Often bright and cheerful colours would be smothered over with blacks and browns leaving a vestige of bright colours peeping through. She had often created something I thought was beautiful and sometimes I said so; but nevertheless, brown paint had to cover and destroy what was underneath. She always knew when she had finished. In the early days of working together she would leave abruptly and later, as our relationship grew, she would sometimes high five me or give me a hug and then leave only to return with a gang of people to see her work. Every picture told a story and had a purpose. Sometimes she would answer my questions with an affirmative nod or a yes, other times she would blank me. Our communication exchange was not due to an inability on her part, but as I observed, she had done enough, was there any point of talking about something that was so obviously very painful to express, indeed if you could find the words? Sometimes she would laugh at me, which I believe was a diversionary tactic taking us both away from experiencing unbearable emotions. Although she was introduced to me as anti-social, someone who aggressively avoided others, I found her to be deeply empathic. She would help the least able and possessed an acute intuition, knowing when someone was deeply distressed. Her sensitivity could carry her to the edge of despair at times, and she would run through the centre screaming and trying to rip off her bandages. Unconscious material is considered to govern our behaviour. Cathexis describes the process by which repressed material fights its way out of the unconscious often becoming distorted through ‗displacement‘ whereby energy is transferred from one mental image to another. This idea is important in the psychoanalytic theory of symbolism. Displacement is the means of removing energy to a less threatening idea or object through sublimation (Jung 2013). The definition: Intellectual Disability conveys little. This is about a group of people who live with a multiplicity of health dysfunctions resulting not only from the neurological arresting of the brain‘s development or chromosomal abnormalities at birth but also from a secondary disability that of being received into this world as an ‗intellectually disabled child‘. When we avoid or deny pain, we split off parts of ourselves and those we care for. It becomes even easier not to see pain when those who struggle internally also find it easier to avoid because it is difficult to cognitively articulate. The need to find new words underlines the pain of something that cannot be cured and as Sinason (1992:43) observed, words such as stupid, which means ‗numbed with grief‘ become contaminated by negativity and discrimination when it is associated with prejudice against someone or something painful or uncomfortable. The stigma directed towards PWID identifies the shame and self-contempt we hold against ourselves and points to our own disability enclave to such feelings, which are excruciating (Schaverien 187). The problem for PWID is that the expression of derision directed towards them stifles the opportunity for any intellectual developmental progress. The extent to which a person has been denied an emotional life or simply not understood and the many preconceptions we carry define the position of PWID in Western Society. As has been identified, PWID learn helplessness and develop low selfesteem, anxious conformity with an accompanying lack of assertiveness and self-advocacy. When people become dependent on care givers, they inhibit their intelligence and real language to become like ‗smiling pets‘ to keep their outer environment happy with them (Sinason 1992). Traumatised people tend to superimpose their traumatic experiences on everything around them and find trouble deciphering whatever is going on around them and entering intimate relationships with others. Trauma retracks to the time we felt deep emotions. Our imagination suffers and we lose mental flexibility. Our social environment interacts with brain chemistry. PTSD sufferers are hyperactive and their ability to cope socially is often compromised (Van der Kolk 2014 and Levine 1997 and 2010). 44 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 I built a strong relationship with this client and outside of Art Therapy we ‗looked out‘ for each other. In working with Maria, I feel we had many breakthroughs, not least the reduced incidence of self-harming and general happier demeanour that was commented on by all. If she could have spent all day with me, she would have; however, there were many times she would pack up her things and leave only to return again and again on some pretext, was she checking I was still there? My question was should I have applied more boundary issues around time and use of materials and ensuring she stayed only for her allotted time? I feel because of the relationship we established, and she knew I was there for her there was mutual respect. She came on time and in most cases understood when her time was finished. In another sense I wanted to be there for her because I saw how she was changing, developing a more stable sense of self. Maria shows the potential that Art has to heal on many levels; for Maria, however, being witnessed and being with someone was very important. Just as her moods could be up, she could also at a moment‘s notice switch moods. This did not happen with me and in fact in group work I noticed she gained greater tolerance towards others in the room, she would not work with them but did engage them in conversation at times, this was a positive step forward in building social relationships that were self-sustaining. Mahler et al (1975) described the development of a sense of self to include the initial symbiotic phases in infant development where the young infant perceives itself to be at one with the mother. Over an evolving period, the child starts to distinguish itself from the mother/carer and to achieve a sense of individuality. A psychological birth takes place and represents the conceptual equivalent of the cutting of the umbilical cord. Winnicott (1973), coined the phrase ‗Continuity of Being‘ central to which, was the mother's attentive holding of her child, this he called the ‗good enough mother‘; our earliest experiences from pre and peri-natal determined our sense of worth, and our ability to adapt to our environment, rich in ambiguity and confusion, successfully. Failures of adaptation bring about an interruption of ‗continuity of being‘, reaction to environmental impingement and conditions that cannot be productive for healthy psychological development, ‗disintegration‘ described by Winnicott (1973) as ‗False Self‘. If individuation requires decreased dependence on caregivers and increased independence, then there are clear implications here for PWID who for a variety of reasons experience obstacles to this process. Working with severe intellectual disabilities Hughes (1988) developed Art Therapy techniques based on the theories of Winnicott (1986:106) in creating a facilitating environment where an individual can work playfully called ‗the potential space‘. This is an intermediate area between fantasy and reality. Here an individual may experience herself moving from being in fantasy to being in reality. The movement between fantasy and reality, between subjectivity and objectivity, is achieved through the use of objects; in this case the object is the art product. This is the ‗Transitional Object (Winnicott‘s terminology), which gratifies through fantasy but also reflects back its ‗otherness from the self. Tipple (1992:107)and Hughes (1988) argued for PWID, the use of the object allowed them to view the world more positively. The relationship is seen to be more satisfying and not frustrating. In this respect the role of the Art Therapist becomes the mother allowing her child to explore safely and separately but in the presence of the mother. I was privileged to observe a transformation in both Maria‘s way of being and the images she was creating. In one sense our relationship had become more intimate insofar as she trusted me. For example, I allowed her to have forbidden cups of tea which she was always asking for. The breakthrough came when lying on a large sheet of paper on the floor she allowed me to draw round her. She then took the outline and coloured it in, giving the empty head a face. Over the period of a month, she continued to use the large roll of paper to make other images which included a rainbow. She was no longer absent mindedly dabbing and brushing away at the paper or pouring glue till it seeped onto the table and floor, she was now focused and concentrated on her work in hand. I remember watching her one day. After tea she fetched her pallet and poured a reasonable quantity of different coloured paint into the pots. She selected her brushes and took water. Every so often she would stand back from her work and surveyed it and would select more colours and again return to her work. She was happy and contented during this period. The bandages had gone as she was keen to show me and no longer 45 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 did she led a procession of people into the studio to see her work. We chattered together as I had mastered her language and she mine. This happy scene was about to change with my imminent departure and a topic of conversation avoided by both of us. As the day approached, she avoided me and did not turn up for her allotted sessions. Finally, the day arrived, and she was nowhere to be seen to say goodbye. I returned two months later and sadly to see a person who had regressed into her old habits. Her self-inflicted wounds were deep and raw. The nurse was besides herself with Maria‘s constant need for bandaging. I remember she treated me rather distantly, again, could I be trusted? Her artwork had lost its daring and exuberant qualities. In fact, for many sessions she would not work on her own pieces but got me to make them for her. Easter arrived and with it an obsession in the symbolism this represented, so every week I had to make bunnies and eggs, little chicks, and gambolling lambs. I‘d be lying if I said that I hadn‘t become attached to Maria, but I had also become part of the care system that was failing these people. There was no money to continue with my work and little importance was attached to what I had been doing. After my absence she returned to self-harming. Anger, depression, loneliness and selfharming Working with Maria demonstrated the powers of creativity to be able to transition easily between emotional states. This can be seen as flow, the state of ‗‗being while doing‘‘. Maria showed how she developed the ability to sustain activity through continual, gradual, and increased challenge. The results of flow are furthering achievement, increased fulfilment, and growth of the self. Quoting Csikszentmihalyi (1992) Maria maintained her experience of flow into other areas of her life whereby she began to build a sense of self better able to cope with stress. Life was becoming more meaningful for her. In the context of Art Therapy ‗Flow‘ has been found to be of benefit in helping a client identify their ‗true self‘. Clearly, Maria‘s transformation was nascent, but I believe that had our work together been supported, she would have found a firmer footing on which to go forward without needing me to hold her hand. She insisted we make faces together. She painted a face A Rainbow, happier times Art Therapy embodies subtleties, ambiguities and multi-layers of expression that escapes verbal articulation. It is their richness that carries potential that sometimes defies interpretation Schaverien (1989:153). 46 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The case has been made that Art Therapy creates a facilitating environment principally suited to those people with communication impairment and sensory deprivation, which includes PWID. It relies on the development of a strong therapeutic relationship where clients can safely explore the unconscious of their lives and discover new strategies for managing their disabilities. Evidence exists to demonstrate how art therapy aids the formation of new neurological pathways in the brain and other possibilities for intellectual growth. It has been shown that Art Therapy, as a psychotherapeutic model, provides the most appropriate method to assist PWID in circumventing their limitations on many different psychological and physical levels. Loss and bereavement is a composite area for PWID. Art Therapy can assist overcoming PTSD, issues of attachment, anger, coming to terms with the loss of a loved one and coping with the many changes this can bring to a person‘s life in the ways verbal exchanges do not. Extremely traumatised people may find it easier to draw that talk. Art making is non-directive and psychodynamic in approach. This enables clients to follow their own process and come to a stage of self-realisation through the images they make. Where communication is an issue. Fox (1998) noticed the images talk for the client and the resonance of countertransference. Client‘s engagement with the images they made became the didactic facilitating vehicle for clients to be seen and their life journeys safely revealed and empathised. Art Therapy engages PWID on different levels where they can experience flow. Firstly, bodily through the actual manipulation of the materials; they can feel these on a sensation level and on a manual level of moving the materials around; this brings all the senses into play. Through sight, seeing what happens when they apply art materials to paper or board or play with it in their hands, looking at the colours, moulding it, adding water and kneading it to make shapes playing and creating with it. They can become absorbed in the action of creation so that they are no longer aware of themselves psychologically, analogous to meditation and finally, developing another sense of self through intersubjectivity where the therapist, holding the space and allowing the client to be and experiment gives permission for the emergence of another sense of self. Witnessing and being present with a client using art materials in therapy provides the vehicle for the transmutation of trauma into a renewed sense of being and freedom tapping into the dormant emotional intelligence which is now allowed to flow freely. References Beart. N, Hardy. G, and Buchan. L. (2005): How people with intellectual disabilities view their social identity. Jnl of Applied Research in Intellectual Disabilities 18: 47-56. Bicknell. J. (1983): The psychopathology of handicap, British jnl of medical psychology. 56: 167-178 Bogaard. K.J.M.H., Henk. L.I. N., Palmstierna. T., Petri. J.C.M.E. (20180 Self-injurious behaviour in people with intellectual disabilities and co-occuring psychopathology using the self-harm scale: a pilot study. Jnl phys Disabli (20180 30; 707-722 Bull. S & O‘Farrell eds. (2012). Art Therapy and Learning Disabilities. Routledge, Kindle Ed. Bull. S. (2012): The beast can scream in Bull. S & O‘Farrell eds. 2012. Art Therapy and Learning Disabilities. Routledge, Kindle Ed. Craven. J. (2012): Having a learning disability in Bull. S & O‘Farrell eds. 2012. Art Therapy and Learning Disabilities. Routledge, Kindle Ed. Davies Louise, and Oliver Chris (2011): The age-related prevalence of aggression and selfinjury in persons with an intellectual disability: A review. Cerebra Centre for Neurodevelopmental Disorders, School of Psychology, University of Birmingham, Birmingham B15 2TT, UK1 Dee. K. (2012): Bereavement and learning disabilities in Bull. S & O‘Farrell eds. 2012. Art Therapy and Learning Disabilities. Routledge, Kindle Ed. Fennell. L & Jones. E (1998) Counselling people with Learning Difficulties in Rees. M. Ed. (1998): Drawing on Difference. Routledge. Csikszentmihalyi. M (1992): Flow, Penguin UK. 47 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Csikzentmihalyi. M (2020) Finding Flow: The psychology of engagement with everyday life, Hachette Book Group. Frankl, Victor, Man‘s Search for Meaning‖, p3, (1953). Freud.S. (1920). Beyond the Pleasure principle. S.E 18: 1-64. Goffman. I (1961) Asylums. Penguin. Hamilton D., Sutherland G. & Lacono T. (2004): Further examination of relationships between life events and psychiatric symptoms in adults with intellectual disability. Harris. J. (2006): Intellectual Disability: Understanding its causes, clarification, evaluation, and treatment. Oxford University Press. Hollins. S, and Esterhuyzen. A. (1997): Bereavement and Grief in Adults with Learning Disabilities. British Jnl of Psychiatry, 170: 97-501. Hughes. R. (1988): Transitional Phenomena and the potential space in art therapy with mentally handicapped people. Inscape, summer: 4-8. Iriarte. Edurne Garcıa, O‘Brien. Patricia, McConkey. Wolfe Roy. Marie and O‘Doherty. Siobhain: (2014): Identifying the Key Concerns of Irish Persons with Intellectual Disability. National Institute for Intellectual Disability, Trinity College Dublin, Dublin, Ireland; University of Sydney, Sydney, NSW, Australia; Ulster University, Newtownabbey, UK; § Brothers of Charity Galway & Inclusive Research Network, Galway, Ireland; Trinity College Dublin, Dublin, Ireland. Jacobs. M.(1995): Winnicott. Sage. Jung. C. (2013), Man and His Symbols, Stella Classics Kay. B. (2003): Changing Philosophy in Learning Disability, in Marrkwick. A and Parish. A (eds) Learning Disabilities Themes and perspectives. Butterworth Heinemann. Kuczaj. E. (1998): Learning to say goodbye: Loss and bereavement in learning difficulties and the role of art therapy in Rees. M. Ed. 1998: 151-166, Ch 9. Levine. P, (1997): Waking the Tiger – Healing Trauma. North Atlantic Books. Levine. P. (2010): In an Unspoken Voice (Kindle ed). North Atlantic Books. Lomas.H, and Hallas. P (1998), It‘s a mystery: Accounts of an art therapy group for people with learning difficulties; in Mair Rees. Ed (1998); Drawing on Difference. Mahler. M., Bergman. A. and Pine. F (1972): the psychological birth of the human infant. Basic. Mate. G. (2010) Forward in Levine. P. (2010): In an Unspoken Voice (Kindle ed). North Atlantic Books. K. McClintock, S. Hall & C. Oliver (2003): Risk markers associated with challenging behaviours in people with intellectual disabilities: a meta-analytic study, Journal of Intellectual Disability Research, Blackwell Publishing Ltd Blackwell Science, Ltd Oxford, UKJIDR Journal of Intellectual Disability Research, Blackwell Publishing Ltd, Review Article Risk markers for challenging behaviour. McClintock et al. Correspondence: Chris Oliver, School of Psychology, University of Birmingham, Edgbaston, Birmingham, UK (e-mail: c.oliver@bham.ac.uk). University of Birmingham, Edgbaston, Birmingham, UK. McConkey and Leavey. (2013): National Disability Authority (2011) National Surveys of Public Attitudes to Disability in Ireland. Available at: http://www.nda.ie/website/nda/cntmgmtnew.nsf/0/90F8D23334D786A880257987004FCF51/$File/Pub lic_Attitudes_to_Disability_in_Irelandfinal.pdf (last accessed on 17 May 2013). McNiff. S. (2004): Art Heals. Shambhala. 48 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 O‘Farrell. K. (2012): Don‘t guess my happiness in Bull. S & O‘Farrell eds. 2012. Art Therapy and Learning Disabilities. Routledge, Kindle Ed. Oswin. M. (2000): Am I allowed to cry. The Guernsey Press Paterson. L. (2007)., Stigma, Social Comparison and Psychological distress in adults with a Learning Disability. D. Clin. Psychol. The University of Edinburgh. Perry. C, Transference and Counter-Transference in Young-Eisendrath, P. and Dawson, T. (eds), 1998. The Cambridge Companion to Jung, Cambridge University Press Raghaven. R. and Patel. P. (2005): Learning Disabilities and Mental Health. Oxford Blackwells. Ragley. M., (2004), The Social Construction of Intellectual Disability. UK: Cambridge University Press. Read. S. (2014) Supporting People with Intellectual Disabilities experiencing Loss and Bereavement: Theory and Compassionate Practice. Rees. M. Ed. (1998): Drawing on Difference. Routledge. Sandmire, David Alan, Roberts, Sarah, Gorham, Nancy Rankin Elizabeth &David Robert Grimm, (13 Jun 2012), The Influence of Art Making on Anxiety: A Pilot Study, Pages 68-73 | Published online Schaverien. J, (1987): The scapegoat and the talisman: transference in art therapy, in Dalley. T, et al. Images of Art Therapy, London, Tavistock Silverstone. L, (1997), Art Therapy - The Person Centred Way. Jessica Kingsley Publishers. Sinason. V. (1992): Mental Handicap and the human condition. Free Association Books Skaife, Sally, (2001): Making Visible: Art Therapy and Intersubjectivity, , Inscape, Volume 6, No 2. Storey. S. (2012). Skating in the dark in Bull. S & O‘Farrell eds. 2012. Art Therapy and Learning Disabilities. Routledge, Kindle Ed. Stott. J., and Males. B., (1984): Art Therapy for people who are mentally handicapped, in Dalley. T (ed): Art as Therapy. Tavistock. London. Swain. J. (1989) Learned helplessness, Theory and people with Learning Disabilities: the Connection. Open University Press. Tipple. R (1992): Art Therapy with people who have severe learning difficulties: 105-124, in Waller. D and Gilroy. A: Art Therapy a handbook Tipple. R (1994): Communication and Interpretation in Art Therapy with people who have a learning disability. Inscape, 2: 31-5. Turner, Toko-Pa, (2017), Belonging – Remembering ourselves home. Her Own Room Press, Salt Spring Island, British Columbia, Canada. Turp. M (1999): Encountering self-harm in psychotherapy and counselling practice, British Journal of Psychotherapy Van der Kolk. B. (2014): The body keeps the score. Penguin Books, Kindle ed. Warren. Sarah: 2007, 102-110; An exploration of the relevance of the concept of ―flow‖ in art therapy, International Journal of Art Therapy, 11:2, 102-110, DOI: .1080/17454830600980358. Winnicott D. W. (1973). The Child, the Family, and the Outside World. Penguin. Winnicott, D.W. (1972) Playing and Reality, Routledge 49 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Analysis of Human Rights Equality-Themed Poster Design Examples with The Method of Semiotics Fatıma Tokgöz Gün Burdur Mehmet Akif Ersoy University, fatma.tokgz@gmail.com Graphic design, which is a visual communication art, both inspires people in the design works and makes it possible to look at designs with different perspectives for many years. Graphic design has a very important role in the visualization of the messages and their presentation to the target audience. Considering that the ideas or images used in designs have a meaning, graphic design contributes positively to the work in terms of coding the meaning in semiotics design and making the message design. The main purpose of the research is to reveal the semiotic solutions on five poster designs with the theme of equality in human rights. The processes of specifying, interpreting and understanding the semiotic symbols of the poster designs examined within the scope of the research are included. Semiological analysis method is used to make sense of how designers deal with equality in human rights and how visual language is used in designs. Based on the semiotic studies, it has been observed that the semiotic analysis contributes to the creativity of the designer for the graphic design profession and offers remarkable analysis in the studies. It is also observed that studies that present semiotic analysis on graphic design products have contributed to hybridity in design. Therefore, the use of qualified content and signs in design has produced remarkable results in original works. Keywords: Semiotics, Graphic Design, Poster, Design, Equality, Human Rights Introduction Graphic design is described as a concept related to visuals and the exchange of all kinds of information between people while graphic communication is defined as the exchange of information made up of images (Becer, 2011:28). The information transfer provided by this process of change can be shaped as establishing visual communication within the field by shaping the form of the existing content (in general), editing and adding (sometimes), creating both the form and the content (occasionally) (Twemlow, 2008:13). Ambrose and Harris (2012:12) describe graphic design as an art discipline with the purpose of establishing visual communication on the basis of typography, information technologies, page layout and other creative areas and emerges to create awareness. ―Graphic design serves to make everything clearer - even to save lives - as well as to enrich our daily life with complex layers, differences and fine details, also to help people find their way around and understand the data but it also helps them get lost in new ideas, fantastic stories and landscapes and question and challenge the information presented‖ (Twemlow, 2008:6). Graphic design is a visual communication method where art and technology combine with creativity (Bayar, 2019:1). Graphic design includes digital media designs as well as printed media products such as posters and banners. In the content of digital media, digital games, web design, advertising, interactive applications, UI and UX designs, interface designs for smart phones have been the working area of graphic designers. The effect of the designs, which emerged with the effect of the basic principles of graphic design, enables people to reach the targeted purpose, especially to create public awareness on the specified subject successfully. It is observed that poster design, which is one of the graphic design products, maintains an effective presence in the society in relation to social issues. 50 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Aim and Importance of the Study In the study, it is aimed to evaluate many processes such as idea formation process, connotation, visualization of the idea, images selected in the visual creation phase and semiotic analysis about how the posters are formed. Additionally, how social issues are reflected on poster designs and the semiotic analysis method is used to produce effective results on people will be discussed. In a poster work, the definition of a message and its transformation into visual elements is an important process. Analysing the language of expression used in this process is important in order to define the poster design that emerges from where the idea started and the effect it wants to have on people. In this way, it has a strong effect that will create new awareness for both the audience who are desired to enter the social domain, and the graphic designers who are passionate about this profession and graphic design students who are just at the beginning of the road. Limitations The study is limited to the poster designs which were reached and thought to be effective in the study and produced by five graphic designers under the theme of equality in human rights, and also limited to the semiotic method, visual reading and visual analysis method. Poster Design The poster is a widely used informational tool and it is among the components of graphic design. Posters integrate graphic design elements with design and aesthetic concerns and transfer them to the other party. ―Beyond being a simple informational tool, the poster is a communication tool that can tell people something different and new, sometimes make them laugh, entertain, and sometimes stimulate, disturb and even threaten and should do so‖ (Ertep, 2007:80). Since they are prepared for informational purposes, posters, visuals and typographic elements used in them should generally be understood and read. Especially for the typographic elements to be read more easily, legible, strong and effective typefaces should be preferred. Accented, vibrant characters and fonts should be preferred to attract the attention of those who see them on posters. The items to be used in the poster should be chosen appropriately according to the subject of the poster. Posters can promote a product or cover cultural, commercial and social issues. In social content poster designs, society and people are mainly taken into account. For example, subjects such as nature, global warming, alcohol, drugs, human rights, education are among the areas of interest of social content poster designs. Social content poster designs are prepared for reasons such as informing people more about the relevant subject and activating them, so these designs can display a very current and remarkable attitude (Yavuz Dülgeroğlu, 2007:42). In all social events that affect the whole or a small part of the society, social posters are preferred to raise public awareness, to mobilize people about that issue, and to increase awareness. For example, the issue of human rights and equality has not been prevented all over the world and it is among the issues that need to be raised. Semiotics Semiotics, a branch of science in which signs are studied, is not only related to art, but also to every subject such as architecture, literature, and photography. ―The first activity that examines the signs in terms of communication, semiology, approaches 'language' and 'language ability' superficially as if describing observable, concrete, physical objects existing in nature by saying that it adopts a 'realistic' approach. The second approach sees language ability not as a single-layered object to be observed, but as a whole composed of 'constructed' semantic layers and tries to re-grasp and re-sense its establishment, formation process in order to understand its production style. While doing this, it aims to create a general theory of 'language ability' and organize it in the form of a theory of science, rather than being an attitude that is content with describing observable language phenomena‖ (Rifat, 2000:114). In the field of graphic design, semiotics deals with symbols, signs and visual symbols. Graphic designers make use of semiotics in the creative thinking process of designs. 51 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 ―Sign is a powerful communication tool: It can be easily recognized and can convey complex concepts in a simple language‖ (Ambrose & Harris, 2013:86). Design appears as signifier and the message in the design as the signified. Semiotics is very important in sending the message to the other party in design. It has paved the way for the application of metaphorical thoughts in designs with the advances brought by the developing technology and the increase in experimental applications. Semiotics, which is based on the systematic examination of all factors including the interpretation, production or understanding of symbols and signs, examines the cultural codes, traditions and sign systems that are organized according to the meaning processes of the text. Therefore, it is a method that is widely used especially in designs with social content. Based on the semiotic studies, it has been observed that the semiotic analysis for the graphic design profession contributes to the creativity of the designer and offers remarkable solutions in the studies. Among the semiotic methods, metaphor, metanomy, and myths are frequently used in poster designs. Myths often make their impact felt on the target audience, as they provide meaning in designs. Metaphor enables us to search for the familiar meaning of an image in another image. For example, an abstract concept can be defined in a concrete concept in metaphor. Metanomy, on the other hand, can be used instead of the whole image of the objects to be used in the design, a small part of it or another object describing that object. The designers' handling of semiotics during the design process will be effective in the emergence of their designs more effectively. When semiotics is used in visual art, the work of art in question becomes much more meaningful and thought-provoking. Human rights Human rights, which are in question all over the world, are an issue that has been encountered for many years and needs to be emphasized. Human rights are the fundamental rights and freedoms that all people have. Human rights can be enjoyed by all people regardless of race, nationality, ethnic origin, religion, language or gender (Wikipedia,13.04.2021,13:07). In order to emphasize the importance of human rights, foundations and associations were established in many countries around the world, and informative posters were made on the subject. Social content posters designed to raise awareness of individuals on human rights emphasize the inequality of issues such as language, religion, gender, race, and reference is made to the fact that everyone is human from flesh and bones. Method of Study It was aimed to reveal the semiotic solutions on five poster designs with the theme of equality in human rights. In the study, many processes such as the process of creating an idea about how the design is formed in the selected poster designs, the images selected in the visual creation phase and semiotic analysis were evaluated. How social issues are reflected on poster designs and the semiotic analysis method used to produce effective results on people will be discussed. 52 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual 1: Gender Equality Table 1: Semiotic analysis of the poster about gender equality Sign Signifier Signified Object Egg living being Slogan used on the poster: It is written that whether it is a female or a male does not affect the price and one egg is used. The egg used here actually supports the slogan, everyone comes out of the same egg, it does not matter whether it is a male or a female. It emphasizes gender equality. Reference is made to the image of the egg in the poster design. The egg also describes the birth of a living creature and it is often unclear what will come out of it and how it will come out. For this reason, attention is drawn to the theme of equality, not only women, men, but also living being with disabilities, healthy, blond, brunette, blue or brown eyes. 53 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual 2: If men can do it, women can do it Table 2: Semiotic analysis of the poster about men and women equality Sign Signifier Signified Object Spanner Male Object Cooking spoon Female On the poster, sign is attached to a woman with a spanner and to a man with a cooking spoon. The perception of equality is created with the spanner and the cooking spoon being horizontally parallel to each other. Gender equality is emphasized by stating that women can do the work that men can do, and that men can do the work that women can do, by writing under the spanner, "If men can do it, women can do it," and under the cooking spoon "if women can do it, men can do it." With the background color being white, it is referred to the idea that if there is equality, there will be a more positive world. 54 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual 3: Freedom of Speech (2021) Table 3: Semiotic analysis of the poster about freedom of speech Sign Signifier Signified Object Bird Freedom Object Microphone Expression, speech In the poster design in which the microphone and the bird are used, the upside-down position of the microphone creates a perception of negativity and reminds an exclamation mark. The microphone head is transparent and visible and also is formed from wires to give a cagelike appearance, and a bird is inside. Based on the fact that the bird is tied in the cage, it has been tried to draw attention to the lack of freedom of speech for people. The background color also supports this attention. 55 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual 4: Freedom of Expression (2021) Table 4: Semiotic analysis of the poster about freedom of expression Sign Signifier Signified Object Speech bubble Object Barbed wire Captive, prisoner Object Balloon Freedom Expression, Speaking In poster design with speech bubble and barbed wire design, the speech bubble is thought to be like a balloon representing freedom, and it is designed together with barbed wires which should never be connected with a balloon as they can damage it. Here, the background is dark gray to represent despair, referring to the lack of freedom of expression. At the bottom, "freedom of expression" is written and crossed out like a deletion. Reference is made to the lack of freedom of expression for people. 56 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual 5: Benetton Advertisement (2021) Table 5: Semiotic analysis of the poster by Benetton Sign Signifier Signified Object Heart Human, living being Object White The human race Object Black The human race Object Yellow The human race There are three hearts in the Benetton advertising work on equality in human rights. The white-black-yellow expressions on the hearts refer to the human races and it is stated that the color of your heart is always the same no matter which color your skin is and whatever your nationality is. Results With the semiotic method used to raise awareness in the poster designs discussed within the scope of the research, effective results that attract the attention of people have emerged. It is seen that the visuals used in poster designs use an effective and plain language of expression. While the images of women are indirectly included in the designs, the slogan on the poster is referred to women. It is thought that the slogans and messages carrying the idea about the subject are given with metaphors and codes, not literals. For this reason, the colors, shapes and elements used in designs mean something for the audience. Graphic design, which has a very important position in terms of social responsibility, has become quite remarkable with the contributions of semiotics. 57 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 References Ambrose, G. & Harris, P. (2012). Grafik Tasarımın Temelleri. Çev. M. E. Uslu. İstanbul: Literatür Yayınları. Ambrose, G. & Harris, P. (2013). Grafik Tasarımda Tasarım Fikri. Çev. A. Gülder Taşçıoğlu & M. Taşçıoğlu. İstanbul: Literatür Yayınları. Bayar, Ö. (2019). Grafik Tasarım Rehberi. Ankara: İnkilap Yayınevi. Becer, E. (2002). İletişim ve Grafik Tasarım. Ankara: Dost Kitabevi Yayınları. Ertep, H. (2007). Gündelik Yaşamımızın Ucundan Tutunan Bir Tasarım Nesnesi: Afiş. Grafik Tasarım: Görsel İletişim Kültürü Dergisi, 13, 80-84. Rifat, M. (2005). XX. Yüzyılda Dilbilim ve Göstergebilim Kuramları 1. İstanbul, YKY Yayınları. Twemlow, A. (2008). Grafik tasarım ne içindir? Çev. D. Özgen. İstanbul: Yem Yayınları. Yavuz, Dülgeroğlu, S. (2007). Sosyal içerikli grafik tasarım-II. Grafik Tasarım Dergisi, 6: 42-44. Wikipedia. (2005). İnsan hakları. Vikipedi. Erişim: 14.05.2021 https://tr.wikipedia.org/wiki/%C4%B0nsan_haklar%C4%B1 Visual Reference List Visual 1: Gender equality. Access date: 15.05.2021 https://www.behance.net/gallery/4926535/Genderequality-(-Poster-) Visual 2: If men can do it, women can do it. http://www.posterfortomorrow.org/en/gallery/view/28258# Visual 3: Freedom of Speech. https://tr.pinterest.com/pin/213850682285892671/ Access Access date: date: 15.05.2021 15.05.2021 Visual 4: Freedom of expression. Access date: 15.05.2021 https://tr.pinterest.com/pin/141159769556533606/ Visual 5: Benetton advertisement. Access date: 15.05.2021 http://www.gazetevatan.com/sok-edicireklamlar-29224-galeri-yasam-fotogaleri/?Sayfa=8 58 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 A Descriptive Study on Interactive Advertising Graphics in Graphic Design Fatıma Tokgöz Gün Burdur Mehmet Akif Ersoy University, fatma.tokgz@gmail.com The changing and developing technology has started to show its new face effectively in graphic design poster examples. With this change, both designers and graphic design products are positively affected and managed to attract more attention of people. The diversity created by the innovations has enabled interdisciplinary studies and liberated the working areas of designers. The main purpose of the research is to examine five interactively designed advertising posters of selected cocacola zero, ikea, vespa, burger king and visa brands descriptively. The technical processes used in the presentation phase of the interactive advertising graphics examined over the research were discussed and the methods used to increase the attractiveness and customer appreciation in the final design were analyzed descriptively. Within the scope of the research, it has been observed that advertising graphics are used in interactive usage areas to increase the effect on the audience. The new usage areas of advertising graphics have interacted with users by taking place on digital screens, boards or mobile applications, sometimes in order to positively affect consumption, sometimes in order to raise awareness in an event with social content, and sometimes to increase the affordability of a product. Keywords: Graphic design, Advertising graphic, Interactive graphic Introduction Graphic design is a visual communication art. Graphic design, which has shown itself in two dimensions in works for many years, now includes sound and movement. Communication technologies that develop over time also change the message owners and the usage environments of the messages. With the advent of computers, digital drawing opportunities, which have been affected by this situation in visual arts, have been offered to designers. Among the interactive environments, virtual reality and augmented reality are among the highly remarkable applications that contain many concepts and fields. The combination of the computer with communication technologies has removed the spatial boundaries in design and enabled up-to-date working areas. Aim and Importance of the Study The main purpose of the research is to examine a total of five interactively designed advertising posters of the selected brands of cocacola zero, ikea, vespa, burger king and visa, descriptively. The technical processes used in the presentation phase of the interactive advertising graphics examined within the scope of the research were discussed and the methods used to increase the attractiveness and customer appreciation in the resulting design were analyzed descriptively. This study examines the way the designers who prepare interactive advertising graphics supported by augmented reality technology, which is one of the virtual media technologies, follow to attract the attention of the audience, and what they have done to present the virtual objects added over the real world. Augmented reality applications make the product or service of the brand more realistic and impressive physically and emotionally, and provide different experiences to the consumer. Therefore, advertisement companies see this technology as an important marketing strategy. There are up-to-date brands that keep up with the augmented reality trend. 59 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Limitations In the study, how five poster designs prepared with augmented reality (AR) technology interact with the audience by incorporating motion and sound is limited to the descriptive analysis. Poster The poster is a design component that carries the design and aesthetic concerns at the same time. "Beyond being a simple informational tool, the poster is a communication tool that can tell people something different and new, make them laugh, entertain, and sometimes stimulate, disturb and even threaten, and should do so" (Ertep, 2007:80). Posters are prepared for social, cultural and commercial content. Poster designs prepared with traditional methods are now interactive by incorporating movement and sound with the innovations offered by technology. Thus, they are much more effective on the consumers. Sound and motion to be used in posters are preferred according to the subject of the poster. At this stage, augmented reality, one of the exhibition methods, plays a very active role. Augmented reality is a remarkable display method in today's poster design as it establishes an interactive connection between the real world and the virtual environment. Augmented Reality Technology With the widespread use of technology, the line between real and virtual becomes more ambiguous with each passing day. New technologies and new software are needed to support this uncertainty. ―There are many electrical signals that go to a person's brain while walking in the open air. These are what the outside world makes people feel. The purpose in the virtual environment is to give the feeling of being in a real environment by giving the same image to the human brain by using computer programs and virtual reality-related devices that this external world makes people feel.‖ (Yılmaz, 2008:12). Preferred three-dimensional (3D) virtual environments are used to provide communication in a much more effective way. One of the forms of virtual media communication is augmented reality (AR) technology. In virtual environment technologies, the users find themselves in a virtual environment. In this way, users can see virtual objects added later on to the real world with their tablets and phones. Without changing the reality completely, the AR technology appears in virtual environments by completing the reality (Azuma, 1997:356). The feature that distinguishes augmented reality from virtual reality is that the interaction takes place on the real world (Akbağ, 2011:3). By staying in the environment you are in in AR, the feeling is created in an environment where you are not in the real world. Virtual reality creates an environment in which the physical world is not seen or heard. The glasses used in virtual reality prevent seeing the physical world (Craig, 2013:16). Any AR application combines the real world with virtual objects created by computer programs. For this reason, we can download the determined AR programs to the phones and visit the exhibitions or examine that work. Interaction, Augmented Reality and Graphic Design In graphic design, it is essential to convey the desired message to the other party in the most effective way. The sound and movement added to the design draw attention while effectively delivering the message to the other party. Graphic design products that emerge as a result of the interaction of developing technology with graphic design are frequently encountered today. Augmented reality (AR) technology is one of the many methods used to deliver effective messages to individuals. In the AR technology, the information in the physical environment is integrated with the information in the virtual environment. People can easily learn where to eat, where to find a bookstore, and how far they are in a street with AR technology. 60 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual 1: WWF and Coca Cola advertisement with AR technology On January 17, 2013, an AR campaign prepared in cooperation with WWF and Coca Cola was held at The Science Museum in London. In the "Arctic Home" themed campaign, viewers found themselves at the poles inside the endangered polar bears. The campaign, which is an interesting experience for those who visit the museum, calls for conscious consumption by raising awareness about creating a more aware society for endangered animals thanks to the interaction with the audience. Visual 2: Ikea advertisement with AR technology Ikea company, which has been using AR technology for a long time, provides convenience to its customers by offering an experience that will allow you to select the product in the catalog from your smartphone and direct the camera to the corner you will place at home in order to quench your curiosity about how the product you want to buy will look at home. 61 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual 3: Vespa advertisement with AR technology Using AR technology in its advertisement to a magazine, Vespa offers an experience where you can decide for yourself which color and seat fabric you choose when you read the Vespa application you download to your smart devices. Visual 4: VISA advertisement with AR technology VISA showed animals such as giraffes, penguins and polar bears inside the shopping mall with giant screens installed in Poland. This campaign was carried out with the slogan "Try something new with VISA", and followed especially by children taking pictures with giraffes and love penguins with pleasure. 62 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual 5: Burger King advertisement with AR technology The "Burn That Ad" campaign created in Brazil directs its customers to burn rival brand ads using Burger King's smartphone app. As customers burn ads, rival brand ads instantly turn into a Burger King advertisement with AR, while customers gain a Whopper. AR applications make the product or service of the brand more realistic and impressive physically and emotionally, and provide different experiences to the consumer. Therefore, brands see this technology as an important marketing strategy. There are up-to-date brands that keep up with the AR trend. Result Poster designs prepared with the opportunities offered by today's developing technology are much more impressive. The fact that the poster interacts easily with the audience with the sound and movement it incorporates, increases the effect on advertising posters and can change the consumer's perspective on products. Developing technology changes the way poster designs are displayed and incorporates innovations. One of these innovations is augmented reality (AR) applications. The new usage areas of advertising graphics have interacted with users by taking place on digital screens, boards or mobile applications, sometimes in order to positively affect consumption, sometimes in order to raise awareness in an event with social content, and sometimes to increase the affordability of a product. In our world where technology is growing, the effect of AR will be felt much more in the coming years. AR hardware is frequently renewed and new hardware can be included in the system. It will be more and more important to be aware of the reflections of these developments on graphic design and to follow the necessary changes in graphic design education. References Akbağ, M. F. (2011). Mobil Cihazlar Üzerinde 3-Boyutlu Arttırılmış Gerçeklik Arayüz Yazılımı Geliştirme. Yüksek Lisans Tezi, Ege Üniversitesi Fen Bilimleri Enstitüsü, İzmir. Azuma, R. T. (1997). A Survey of Augmented Reality. In Presence: Teleoperators and Virtual Environments, 6(4), 355-385. Craig, A. B. (2013). Understanding Augmented Reality Concepts and Applications. Waltham MA: Elsevier Inc. Ertep, H. (2007). Gündelik Yaşamımızın Ucundan Tutunan Bir Tasarım Nesnesi: Afiş. Grafik Tasarım Dergisi, 13, 80-84. Yılmaz, Z. (2008). Üç Boyutlu Etkıleşımlı Sanal Ortam Oluşturma. Yüksek Lisans Tezi, Sakarya Ünıversıtesı Fen Bılımlerı Enstıtüsü, Sakarya. Visual Reference List Visual 1: WWF and Coca Cola advertisement with AR technology. Access date: 15.05.2021 -https://www.youtube.com/watch?v=h2Jg8ryVk1k Visual 2: Ikea advertisement with AR technology. Access date: 15.05.2021 https://www.youtube.com/watch?v=xC6t2eEPkPc Visual 3: Vespa advertisement with AR technology. Access date: 15.05.2021 https://www.dijitalajanslar.com/artirilmis-gerceklik-uygulamalari/ Visual 4: VISA advertisement with AR technology. Access date: 15.05.2021 https://youtu.be/HqMVZm0klW0 Visual 5: Burger King advertisement with AR technology. Access date: 15.05.2021 https://www.campaigntr.com/burger-king-rakiplerini-yakiyor/ 63 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 “A Healer” Shaman Archetype In Contemporary Art Banuhan R. Ulusoy Dokuz Eylül University, banuhanulusoy@hotmail.com Since art took its place in human life, it has not only been a means of expression, but has also performed both spiritual and physical healing functions. In doing so, he also used different sources in different periods and cultures. Surely one of them is the archetypes. Archetypes are the main parts containing universal elements of the‖collective unconscious " and express themselves through symbols. They organize perceptions, compile and develop content, and determine the main direction of behavior. The‖ healer/Sorcerer " Shaman is also one of these universal archetypes. Symbols are variations of archetypal images, and when they are tried to be suppressed or destroyed, they cause great destruction, neurosis and physical diseases in the psyche. For this reason, the connection and balance between consciousness and the unconscious must be achieved and it must gain its identity. In order to achieve this balance, the shaman uses methods of confrontation and indoctrination in his cosmology, using mythical symbols such as descent underground or ascent to the sky. In fact, if it is not treated in the traumas experienced by a modern person, it eventually turns into out-of-control myths. The place of the shaman in primitive societies in contemporary society has been taken by the artist due to its interdisciplinary structure and predisposition to multiple consciousness. The artist also experiences a personal healing, just like the shaman's first self-healing, by interacting with his own myths in the first stage through the space, definition of space, materials, methods and language he uses. It then enters into the boundaries of social survival by triggering the personal myths of the viewers with common universal archetypes. The shaman's unique trans technique and personal symbols act as a mediator between the past/future (memory), between the consciousness/unconscious (seer), between the myths/rational world (storyteller, philosopher), between the deficiency/excess (healer). Both the ability to balance all these dualities at the same time and use them in a state of multiple consciousness, and the interdisciplinary structure has become an irresistible character for art and the artist. The artist transforms himself first and then the audience and society. In the light of these parallels, it can easily be said that art is already an act of healing directly or indirectly, and the artist is also a healer. Keywords: Contemporary art, healing, shaman, archetype, collective unconscious Introduction 19. technological and industrial development, which has gained momentum in the century, has dramatically changed society and culture. After not surviving the trauma of the first Great War, II. The concerns of societies shaken by World War II towards the age and civilization have also brought about new pursuits. On the one hand, Europe, which is trying to rise up again, on the other hand, the United States and the polarized world on the east-west axis, which turn the situation in its favor and add strength to its power and change all the balances, constitute the new landscape. A considerable migration of artists who fled the war and took refuge in America led to the shift of the Art Center from Europe to America, but from this American point of view began a new and brutal art market and artistgallery-broker relationship.Artists who started active production in the 1960s reacted to the system with the influence of all this background, took an avant-garde attitude and carried the mystical and philosophical teachings of ancient exotic cultures into their narratives, in October, in addition to the ―primitive‖ cultural interests of their colleagues at the turn of the century. This new type of artist began to re-observe nature, experimented with new materials and methods, and even turned himself into an object of expression himself. Transcending traditional narratives, they turned to a process-oriented 64 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 perspective rather than result, such as installation, Environment/Nature/land art, and formation (happening), action (action) using their own bodies.In this process, the audience was also included in the production and work and moved from passive to active position. Artistic production, which has begun to intertwine with social events and movements more than ever, has also begun to enter the limits of survival, whether aware or not, through all these interactions. This approach, which broke down all traditional boundaries, over time turned into a form of interdisciplinary production, artists who used all kinds of Information, documents and fields rediscovered the ―unconscious‖, and during this period under the rule of experimental storytelling, many archetypes, such as the Shaman, emerged and came to life again in different forms. Shaman Archetype The term archetype was first used in Psychology by Carl Gustav Jung. Archetypes are the main parts containing universal elements of the collective unconscious. Evolution shapes the mind as well as the body. In the consciousness layer of the collective unconscious human mind, it contains all the knowledge and experience of humanity that it is not aware of, and works with archetypes. Archetypes are inherited and are identical in almost all humans (Jung, 2017, p. 63-99).They organize perceptions, compile and develop content, and determine the main direction of behavior. Archetypes express themselves with symbols. Symbols are variations of archetypal images, and when they are tried to be suppressed or destroyed, they cause great destruction in the psyche, neurosis and physical diseases. For this reason, establishing a connection and balance between consciousness and the unconscious is decidedly important. According to him, modern man has largely lost this connection and identity. Jung focuses on four basic archetypes of Mother-Shadow-Anima / Animus-self. Apart from these, there are many different common universal archetypes, such as hero, witch, God, Devil, but these are shape-shifting variations that derive from the four basic archetypes. The shaman (Sorcerer/healer) is also one of these universal archetypes (Jung, 2016, p. 17-66) Although Shaman is culturally observed in most of the world, it shows its simplest form in northern Asia, Scandinavia, North America and the Arctic region, where it occurs 6. A unique cosmology, symbols and a unique technique of ecstasy in its entirety past/the future (memory) consciousness/unconscious between (seer), Myths/between the rational world (writer and philosopher), deficiency/excess between (therapeutic) acts as a mediator (Ulusoy, 2019, s. 18-19). It has been an irresistible character for art and artist with its structure, which we can call interdisciplinary in contemporary terms, as well as being able to balance all these dualities at the same time and use them in a state of multiple consciousness. Over time, the parallels between these two characters have reached a dimension decisively worth studying. These conditions, which were identified and classified in the study conducted by us in 2019, were collected under four main headings: perception-expressionsurvival-function (Ulusoy, 2019, P. 27-34). But these parallels are transitive by their structure and often become crystal clear around the healing function. Shamans have two methods of approaching the problem, whether physical or spiritual. Eliminating deficiency Endorsism, or disposing of excess, expelling Exorsism (Perrin, 2016, p. 76). In fact, in modern medicine, the disease is basically considered either a deficiency or a violation of balance/function due to an excess. The soul, that is, the mind and the body are an inseparable whole. Modern Medicine defines it as psychosomatic, i.e. mental/mental diseases of physical origin, and Somatopsychic, i.e. mental/mental diseases of physical origin. In fact, what we decidedly describe as a state of being‖ healthy " lies in the absolute balance between these two. In order to achieve this balance, the shaman uses methods of confrontation and indoctrination in his cosmology, using mythical symbols such as Descent Underground or ascent to the sky. In fact, if it is incurable in the traumas experienced by a modern person, it eventually turns into out-of-control myths. Here, the artist also experiences a personal recovery, just like the shaman's ―first self-healing‖, interacting with his own myths in the first stage through the definition of space, space, materials, methods and language that he uses. It then enters into the boundaries of social survival by triggering the personal myths of the viewers with common universal archetypes. Examples 6 In the Master's thesis report submitted by the author in 2019, this region was named “Northern Belt”. 65 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Examples were selected from studies of different periods, disciplines and geographies in order to be clearer. Jackson Pollock Image 1. Jackson Pollock, a moment from the working (Fig, 2018). Jackson Pollock, one of the best-known figures of American Abstract Expressionism, exhibits a Cubist and Surrealist attitude in his pre-1947 work. His attempt to find his own original style leads him into depression and alcoholism (Leja, 1993, p. 145). During this period, he conducts therapy studies with different doctors from the Jung school (Emmerling, 2003, p. 94). He begins to explore his own archetype and myths. Pollock, who was already interested in mythology, anthropology, and psychology, had the opportunity to see Navajo and Hopi practices at the 1941 MoMA exhibition of Native American Art, and was particularly influenced by sand paintings (Leja, 1993, p. 17). Although the effects of these were visible in the process until 1947, he found his own style with drip paintings. In the unconscious awareness he acquired before him, connections to the sand painting healing ritual were also added, and as a result of these experiences, he developed a method of creation by connecting with his own Shaman archetype. It is both a process of creation and an act of self-healing (Rushing, 1986, p. 282-292). The artist's preferred material, psychological perception, bodily attitude, mode of production and process itself, which uses organic materials such as sand, iron, glass as well as paint, clearly correspond to a lean shaman ritual. Pollock's original style soon faces a sudden and great reputation, jealousy and criticism as a return to it. The artist, whose spiritual structure is already sensitive, experiences a breaking moment during the shooting of a documentary prepared by Hans Nomut in 1950. According to him, his display during production disrupted the spiritual feature of the ritual. Losing all balance, he begins to drink again and drifts into depression (Landau, 1989, p. 204). With Jung's change, the artist has become a passive victim of the unconscious. While the unconscious can be a ―spirit of nature‖ that nurtures creativity in a positive sense, it can also be an ―underworld spirit‖ in a negative sense. The cause of inner distress is the decline of consciousness. When the unconscious loses its balance with the experience of consciousness, it turns to the negative pole and turns into an impulse that drives it to extinction (Jung, 2017, p. 264). Joseph Beuys In order to understand Beuys, who marked the second half of the 20.century and included shamanic ceremonies, icons and practices in all his works, it is necessary to understand the ―mythical breaking point‖in his life. 2. According to Beuys, who served in the German Air Force in 1944, when World War II was the most fiery, his plane crashed in a conflict on the Crimean front. He is found and 66 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 saved by nomadic Tatars. The Tatars treat him by applying animal fat to his wounds and wrapping him in felt. After that, nothing will be the same for him. The reality of the event is still a matter of debate (Ermen, 2007, p. 22,23). But what is important here is not that this mythical event is real or imaginary, but that the artist accepts it as a breaking point. After that, he lived his life with his unique persona and amazing idealistic Productions. Image 2. 7000 Oaks (Joseph Beuys and 7000 Oaks, 2014). Just as the death of the old self and the rebirth of a new self came true as a result of an illness or great accident that occurred in the election of the shaman (Eliade, 2017, p. 84-90). But Beuys has ideals far beyond individual healing.His study of 7000 Oaks, which he started in 1982, is one of the best examples of this understanding. According to him, art is the whole of human thought and action. Every person is an artist, and society is a self-made sculpture. Society is sick and needs healing. It aims to improve the society that is sick in its productions, which it describes as a Social Sculpture Project. 700 Oaks (―ecological holistic Art‖ Ecological Gesamtkunstwerk), which he started planting in 1982 and completed in 1987 with the Volunteers of the city of Kassel, is a healing act that he attempted to heal the community (Addams, 1992, p. 28). Nil Yalter Another example is a performance by video and performance artist Nil Yalter at the Ethnographic Museum in Paris in 1979. Yalter performs a seven-minute ritual by removing one of the masks, which has lost all its spiritual and tinsel characteristics and turned into a navigational object, and wearing it to him, and records it (a Nil Yalter retrospective: "20. Century / 21st century Century", 2011). Yalter assumes his spiritual identity from the moment he wears the mask. In Jung's words ―‖ the symbolic function of the mask is the same as wearing animal clothing...the mask transforms its bearer 67 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 from a psychological point of view into an archetypal image " (Jung, 2017, p. 232). According to the artist himself, video is a psychoanalytic mirror that opens doors (Tezkan, 2009). Here, the reconstruction of a forgotten mythical and spiritual function by waking up a sleeping universal archetype, a cultural healing function is realized by triggering memories. Andy Goldsworthy The Great British artist Goldsworthy performs the natural materials obtained from nature in each work without any artificial intervention, avoiding any intervention that would disrupt the natural course of nature (Uyer, 2014, p. 30). With the artist's own statement ―The Earth itself is constantly singing in life because of the effectiveness of images, and the signs of the land have a hidden value, an inner meaning... what tells birds that they are in the wrong place is an instinctive attempt, a strong feeling that tells them to go somewhere they have not gone before. For this reason, I often feel the need to feel like a bird... trapezoid little land, Road, Lightning, these are forms that are re-embodied in my work. As if I find myself in deep water, and these forms are families of stones that I have always stepped on with my feet‖ (Karavit, 2008, p. 82,78,77). In order to achieve balance between the realms, the shaman communicates with nature and the spirits of all kinds of subjects in it and from time to time organizes ceremonies entirely in the nature of praise and decency for them (Inan, 2015, p. 48-71). The artist's approach is actually like a contemporary practice of a typical shaman ritual. ―The most important phenomenon that a close relationship with nature adds to a person is that he can relate to himself. With the development of Technology, man has severed his connection with nature and lost the opportunity to relate to himself. The individual who cannot relate to himself is both increasingly lonely and isolated‖ (Subaşı, 2016, p. 140). According to the Jung school, nature and Man are an inseparable whole, and the dialectic between them should not be decayed, as subashi stated. If this happens, they will both get sick, and only recovery can occur simultaneously. For this reason, man must heal himself with nature. Goldsworthy's sensory approach and way of action are shaped on this basis, making use of universal symbols and shamanic point of view in bringing his work to life. Marina Abramovic Marina Abramovic, on the other hand, follows more strawberry-like methods of social survival, which she aims to start with herself and trigger communities. A good example is the Blkan Baroque, which he performed at the 1997 Venice Biennale. Here we also encounter the pattern of killing and healing the past that we saw earlier in the Beuys myth, as well as the birth of the new self. Just as the Shaman gets rid of his former self by stripping his flesh from his bones in the coming-of-age ritual and is reborn as a healer shaman (Perrin, 2016, p. 43). Abramovich also grazes fleshy bones accompanied by Balkan lamentations on the pile where he sits for 5 days and confronts the effects of the bitter civil war he personally experienced in Yugoslavia (Whitham & Pooke, 2013, p. 62-64). In fact, the work is a repeat of a typical shaman ritual from the point of view of psychodrama. 68 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Image 3. A moment from Balkan Barogue performance (Sooke, 2011). ―Shaman " after the ceremony, the audience remembers the numerous times about the ceremony, their psycho-physiological emotions, they experience what they see and hear to confront the patient with the disease will remain as a shaman, contemporary psychology is to provide the audience with his own disease in the patient, the reason is to find the retracing of the disease‖ (Riverhead, 2016, s. 147,149). In his work, the artist also involves the audience and indirectly society in the same confrontation. Confrontation brings with it stages of healing after acceptance and overcoming, and the artist enters the field of mass healing by crossing the boundaries of personal healing. Semi Ryu A media artist specializing in experimental three-dimensional animations and virtual puppetry based on the tradition of oral storytelling, Ryu in 2007 designed a virtual shaman that moves simultaneously with sensors and microphones placed on the viewer in his work Summoning The Dragon Spirit. This concurrency, thanks to the puppet and erased the boundary between the roles of the players within a very short period and enters the identification phase. The designed image transforms into the viewer's mirror (Ryu, 2006). The rational world with the simulative environment, consciousness with the unconscious, myth with the real, past and present all elements merge in the same dimension. Here the virtual puppet image corresponds to the Shaman garment and mask in the sense of a second identity/reflection, and in fact evokes the shaman archetype of the user. When the distinction between the puppet and the boundaries are decimated, the process of participation in the ceremony begins for the audience. In this way, the viewer settles between the user and the decoy's inner dialogue, both physically and spiritually, and the ceremony performed in a virtual environment begins to gain a functional reality. It activates its own archetypal and imaginative impulses, triggering the participants ' collective unconscious. Although not within the artist's goals, this method has opened a new technical path in terms of psychodrama, medical processes such as psychoanalytic therapy, and processes such as the resolution of traumas, the construction of personal myths. Conclusion As can be seen, the shaman ―healer‖ archetype, one of the spokespeople of the collective unconscious, which contains the oldest and deepest cultures of the human mind, continues its importance and even more important function, whether we are aware of it or not. Given its structure and impact on all layers of the psyche, it is a seriously effective and deep resource that can offer new interpretations and outputs to contemporary art in the light of current technologies. The place of the shaman in primitive societies in contemporary society was taken by the artist due to his multidisciplinary structure and predisposition to multiple consciousness. In fact, we can easily say that art is already an act of healing directly or indirectly, and the artist is also a healer. References Books ELİADE, M. (2017). Mitler, Rüyalar ve Gizemler. (C. Soydemir, Çev.) Ankara: Doğu Batı Yayınları. EMMERLİNG, L. (2003). Jackson Pollock. köln: Taschen. ERMEN, R. (2007). Joseph Beuys. Hamburg: Rowohlt Taschenbuch Verlag. İNAN, A. (2015). Tarihte ve Bugün Şamanizm Materyaller ve Araştırmalar. Ankara: Türk Tarih Kurumu Yayınları. JUNG, C. G. (2016). Dört Arketip. (A. Oysal, Çev.) İstanbul: Metis Yayınları. JUNG, C. G. (2017). İnsan ve Sembolleri. (H. M. İlgün, Çev.) İstanbul: Kabalcı Yayıncılık. 69 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 KARAVİT, C. (2008). Doğadaki İz Yeryüzü Sanatı. İstanbul: Telos Yayıncılık. LANDAU, E. g. (1989). Jackson Pollock. New York: Thames and Hudson Ltd. LEJA, M. (1993). Reframing Abstract Expresyonism. New Haven: Yale University Press. PERRİN, M. (2016). Şamanizm. (B. Arıbaş, Çev.) İstanbul: İletişim Yayınları. RUSHİNG, W. J. (1986). Ritual and Myth: Native American Culture and Abstract Expressionism‘, in Tuchman, Maurice (Ed.): The Spiritual in Art – Abstract Painting 1890 -1985, Los Angeles County Museum of Art, 1986. J. F. Maurice Tuchman içinde, The Spiritual in art : abstract painting 18901985 (s. 95-273). New York: Abbeville Press. SUBAŞI, H. (2016). Psikodrama ve Kadim Bilgelik. İstanbul: Epsilon Yayınevi. WHİTHAM, G., & POOKE, G. (2013). Çağdaş Sanatı Anlamak. (T. Göbekçin, Çev.) İstanbul: Optimist Kitap. Unpublished Papers Duyuler, M. (2014). Heykel Sanatında Gereç Olarak Doğa. Sanatta Yeterlik Sanat Çalışması Raporu, Hacettepe Üniversitesi Güzel Sanatlar Enstitüsü , Heykel Anasanat Dalı, Ankara. Ulusoy, B. R. (2019). Çağdaş Sanatta Kuzey Kuçağı Şaman Yöntem Uygulamaları.Yüksek Lisans Tezi,Dokuz Eylül Üniversitesi Güzel Sanatlar Enstitüsü, Sanat ve Tasarım Anasanat Dalı, İzmir. Articles Addams, D. (1992). Joseph Beuys: Pioneer of a Radical Echology, Art and Ecology. Art Journal, 51(2), 26-34. Internet Bir Nil Yalter Retrospektifi: "20. Yüzyıl / 21. Yüzyıl". (2011, Aralık 2). Aralık 7, 2018 tarihinde https://www.mimarizm.com:,https://www.mimarizm.com/etkinlikler/sergiler/bir-nil-yalterretrospektifi-20-yuzyil-21-yuzyil_120072 adresinden alındı Ryu, S. (2006). Virtual Puppetry and the Process of Ritual. http://median.newmediacaucus.org: http://median.newmediacaucus.org/archives_in_progress/pre_2009_issues/html_only/2006_spring_spe cial/Sp06_Ryu.htm adresinden alındı Tezkan, M. (2009). Gerçeklige Alternatif Bir Gerçeklik: Nil Yalter Videosu. Aralık 12, 2018 tarihinde http://www.nilyalter.com: http://www.nilyalter.com/texts/1/gerceklige-alternatif-bir-gerceklik-nilyalter-videosu-turkish-by-melis-tezkan.html adresinden alındı Joseph Beuys ve 7000 Meşe. (2014, Nisan 1/2). https://dersbelgeligi.wordpress.com: https://dersbelgeligi.wordpress.com/hakkinda/yazilar/joseph-beuys-ve-7000-mese/ adresinden alındı Sooke, A. (2011, Temmuz 2). Marina Abramovic: 'It takes strong willpower to do what I do‟. https://www.telegraph.co.uk: https://www.telegraph.co.uk/culture/art/art-features/8609085/MarinaAbramovic-It-takes-strong-willpower-to-do-what-I-do.html adresinden alındı Fig, j. (2018, Ocak 24). Jackson Pollock working. 2018 tarihinde https://www.cafleurebon.com: http://www.cafleurebon.com/phuong-dang-artist-perfume-review-bertrand-duchaufour-and-markbuxton-olfactive-artistry-draw/jackson-pollock-working-photo-by-joe-fig/ adresinden alındı 70 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Covid 19 and Changing Art Paradigms Gözde Yenipazarlı Dokuz Eylül University, gozdeyenipazarli@hotmail.com The Covid-19 epidemic changed the order all over the world and launched different applications in the field of art. This global pandemic led to the emergence of a new organization and functioning because of the transformation of artistic activities from the physical environment to the virtual environment. In this sense, the pandemic process transformed the entire art system in company with definitions such as "old normal" or "new normal". During the long quarantine processes, the changing stages of production and presentation of art brought along some healing effects on the artist and the audience. The use of virtual applications has become widespread for both the artist and the audience. Artists and art institutions have started to use online applications more actively to bring their artworks, exhibitions, and collections to the audience. Social media applications used by artists, galleries and museums have become more interactive. In addition to online museum tours, exhibition openings and, artist talks, amateur artists were encouraged for creative productions and the resulting works were shared widely in cyberspace. The pandemic entered our lives unexpectedly in the 21st century and changed our lives fundamentally. Moreover, it also transformed the aesthetic perceptions of the artists as well as the participation of the audience. Thus, the concept of pandemic has now become not only a social phenomenon, but also an art concept that triggers creativity. Although the negative effects of the pandemic are mentioned today, this process brought a different understanding of globalization and cultural solidarity and inspired artists. The art audience has become an active participant. The intense contact of art and artists with the audience in an interactive virtual environment transformed our loneliness in the ―new normal‖ into a creative union. In this way, the healing power of art, especially psychologically, was revealed. From now on, even if the Covid-19 Pandemic process is overcome, the artistic experiences we have experienced in this process, the artworks we share and realize, the differentiating art understanding and practices, in short, the pandemic aesthetics will continue to exist in our lives and in art disciplines. In this study, these phenomena will be developed in detail, with a particular focus on the art of photography, and the relevant work and project examples will be analyzed using the description method. Keywords: Photography, Art, Pandemi, Audience, Social Media Introduction Throughout human history, many epidemics have occurred and have caused dramatic changes in rhythms in all areas of life. Epidemic diseases that affect the whole world and spread over a wide area are called Pandemics (Başar, 2021, p.58). Diseases such as the Plague, cholera and Spanish flu, which have been experienced in the past, spread rapidly because they were contagious and caused great changes in social, cultural and economic areas. In December 2019, a new coronavirus called Sars-Cov-2 appeared in Wuhan, the capital of China's Hubei Region. This epidemic, which spreads rapidly all over the world, was described as a pandemic by the World Health Organization on March 11, 2020 (Boyacıoğlu, 2021, p.298). 71 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Undoubtedly, many epidemics have deeply affected societies throughout history. However, we can say that the biggest difference of the period we are in is the new media tools that have become an integral part of our lives. It is a scientific fact that the things to be defined as perceptually fixedstationary in the world are not actually fixed and static in the universe (Tuğal, 2018, p.11). This unexpected pandemic process which we are in, and the world order which it has changed is evidence of this situation. The Covid-19 outbreak has changed the social, political and economic order all over the world, as well as caused changes in cultural and artistic fields and opened up space for alternative practices. The global epidemic has caused artistic activities to take on a structure where a new order and functioning has been formed as a result of the transfer from the physical environment to the virtual environment. While long quarantine processes caused changes in the production and presentation stages of art, they also brought some healing effects on the artist and the audience, and in this process, the use of virtual applications has become widespread for both the artist and the audience. Artists and art institutions have started to use online applications more actively to bring their works of art, exhibitions and collections to the audience. While the social media applications used by artists, galleries and museums are much more interactive than before the pandemic; While online museum tours, exhibition openings, artist talks were made, amateur artists were also encouraged for creative productions and the resulting works were also widely shared in cyberspace. When we look in this context; In Walter Benjamin's article on the relationship between technology and art in his work ―Passages (1995)‖: ―The reproducibility of the work of art with the help of technique changes the relationship of the mass with art‖ (Benjamin, 1995, p. 62). In the art of the 21st century, in addition to the classical art works, the art universe formed with the art works suggested by the age brings forth the forms and works of heterogeneous, hybrid structures together with such structures (Baudrillard, 1995, p.19-21). Human and art, which started to live between the real world and the virtual world with the 21st century, must continue their existence between the two worlds. While the definitions of Cyber World and the real world represent two different environments for those born in the 20th century, these definitions will carry a completely different content for the 21st century generation (Tuğal, 2018, p.13). In this context, during the Covid 19 pandemic period, the interaction between the audience - the artist and the artwork through the analysis of the Izmir Poetik, the Izole Project initiatives, and the examples of the Tussen instagram account, also makes the audience a participant from time to time. It will be examined through examples related to a descriptive method. Thus, it also reveals the healing power of the work of art produced during the pandemic and meeting with the audience in a virtual environment by using new media applications. The pandemic process has taken all the previous artistic production and presentation order to different dimensions with a new set of definitions. The use of virtual applications has become widespread for both the artist and the audience. Thus, the concept of pandemic has now become not only a social phenomenon, but also an art concept that triggers creativity. It was possible for collectivities that could not come together under pandemic conditions to come together in a virtual environment. Among the new media applications, especially the zoom application and platforms such as Instagram took the place of the physical social environment. As the British sociologist Giddens, known for his holistic views on modern societies, emphasized modernity, the internet, which allows all its users around the world to be wherever they want, points to the idea that ―social relations stretch‖ over distances, and in this context the argument that connectivity is separated from the concept of spatial proximity. (Çezercioğlu, 2011, p.129). According to Spanish sociologist Manuel Castells, the culture of true virtuality created by new Communication Technologies has also transformed the perception of time and space. New communication technologies create out-of-time time by eliminating the limitation of biological time or clock time (Aydogan & Kinik, 2012, p. 61). In this regard, while physical space, i.e. galleries, museums, exhibition halls, are inaccessible during the pandemic process, the fact that these shares can continue in a virtual environment has made the process more manageable. Thus, it had a therapeutic effect on both the artist and the audience. Examples of Artist, Artistic Institution and Audience Interaction in the Context of Photography Production during the Covid 19 Pandemic Period 72 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Technological and scientific developments brought along by the age have always opened the doors of new forms of expression and production areas in art and artist. ―Today, the concepts of knowledge, location, speed and time have changed significantly for the 21st century people, who are globally embraced with the digital environment, which is a world different from real life in itself, compared to the past centuries‖ (Tuğal, 2018, p.16). Communication, art, design have become a part of digital culture in daily life. Rapidly proliferating information networks and social media applications have converted into an indispensable part of today's people. This same virtual space has also turned into an area that has increased visibility for the art world. In this period when tight closure measures started to be implemented in our country, as in the world, especially in our daily social life until before the process; The transformation of the discourse of ―There is Life on the Streets‖ into the call of ―Life Fits in Home‖, which has been determined as a relatively safe area due to the epidemic, is the main indicator of the change in the process regarding the concept of space. (Boyacıoğlu, 2021, p. 300) In this process, the understanding of physical space has changed and the virtual space has turned into a place where much more time is spent. In the pandemic environment we are in, museums and various corporate art environments such as this have also sought various ways to reverse the slowing and wearing effect created by the process. For example: The following statement in the call text for Istanbul Modern's online exhibition between June and November 2020 within the scope of the Photography in Pandemic Days project directs us to look at the process in the pandemic environment at least culturally with hope and constructively, while creating a structure that opens up space for the healing power provided by the productions that will occur in this context: “The whole world goes through days when movement and interaction are under restraint. We are trying to understand and make sense of existence in a time that is not easily described, uncertain and uncanny. For some of us, this period may be an occasion for new discoveries, while for some of us it may be a process of reviewing past practices and giving them new meanings” (Istanbul Modern, 2020). Many national and international art institutions, such as Istanbul Modern, have also contributed to this structure with such calls and presentations for various projects. Figure 1. Yasin Akgül, Silent Istanbul, 2020 Photography Projects in Social Media Actionable and innovative initiatives by local art institutions and communities, or individuals, as well as efforts and the context within the context of social media and online platforms, through international projects are also carried out. Examples of this study will be the Blaue Ampel Photography Initiative in Berlin, the Instagram user account Tussen Kunst from the Netherlands, The Artist Initiative Izmir Poetik from Izmir and the social media photography projects of the Izole Project. 73 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 One of the social media photo projects mentioned is the photo initiative Blaue Ampel, based in Berlin. It launches the Pan Diary Project, an online photography project, in March 2020 by making an open call for photographers through its website. The current epidemic is occupying the comfort zone of many people and terrifying everyone. Major changes in our daily life make a photographic confrontation with these events inevitable. Figure 2. Andreas Strübin, ―Art gives comfort.‖, Amsterdam, 2020 The artist group "Blaue Ampel" asked photographers of different countries to photograph their current daily lives during this period, in order to get an impression of this exceptional situation around the world. These subjective insights give a little insight into the personal daily routine and environment in the pandemic process that we will probably talk about for a few years. After accepting applications via e-mail, ―Blaue Ampel‖ sent a password to the artists who were accepted to the project, so that they could upload the photos and texts they took every day to the website. On March 16, 2020, the start date of the project, different quarantine processes, that is, procedures such as full closure or semi-closure, started to be implemented in all countries. Each photographer also produced photographs in the city they live in and in their own living environments. The project, which was realized with the participation of 36 photographers from 18 countries, continued online for 100 days and a total of 1149 photographs and texts were published. Contributions come from as follows: Australia, Austria, Denmark, France, Georgia, Germany, England, Greece, Israel, Italy, Netherlands, Nigeria, Serbia, Spain, Turkey, Ukraine, United States of America. Figure 3. Gözde Yenipazarlı, ―Pandemic Days # 63‖, Turkey, 2020 74 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 According to individual, group and mass dynamics, the Internet has created a ―flexible‖ structure between different communication models, from face-to-face communication to group communication or mass communication. The photographers in the project have opened a healing space for themselves with their production during the quarantine process. To monitor the project through the internet page Blaue Ampel, Pan pandemic diary project aims to eliminate the depressive effect of psychology with a shred of content, while both the artist and audience has had a healing effect. Another social media photo project is the Tussen Kunst account, which launches a challenge on its own accounts via the Instagram app. On March 14, 2021, the first major closure date to occur worldwide, she said: ―How did the working day at home begin in the corona measure?‖ she started the challenge with his question. She published the rules of the game with the announcement posted by the user. ―For anyone who needs to relax at home. Some homemade art. 1. Select artwork 2. Use two household items and 3. Tag it. And never use photoshop!‖ Figure 4. St. Antonius (Username), 2020 The artwork reproduced by the amateur user was shared side by side on the relevant Instagram account, in a single post and on the Tussen Kunsten & Quarantaine account with the name of the original artwork and artist. Thanks to the (hash) labels used, this account has attracted attention in international museums. Thanks to the reposts made in the accounts of international museums such as Rijkmuseum in Amsterdam, the page reached 268 thousand followers in a short time. About 6 months later, a photo exhibition was held at the Palais des Beaux-Arts de Lille Museum in France between 19 September and 30 November 2020, alongside original works of art and works ―reproduced‖ by users. Figure 5. Marguerite L, Marseille, 2020 75 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Instagram has been the most used social media application during the pandemic. New technologies, bringing along uncertainty, are areas of experience for artists to bravely use their intuitive imagination and fiction skills in order to reveal the new. (Tuğal, 2018, p.13) By expanding the boundaries of the cultural-art field, participatory approaches that transform the way individuals relate to creative expression and art have gained more meaning in today's conditions. (IKSV, 2017). The art of photography, whose circulation has increased in a different space through the new media tools used in the Covid 19 period, opened up areas for new existential strategies like other arts. This connection between artist and audience is described as follows in Roland Barthes's book Camera Lucida. ―I have observed that photography is the object of three different applications: doing, exposure and looking. The operator is a photographer. And the audience is us, that is, everyone who browses the photography collections‖ (Barthes, 1996, p. 21). In addition to sharing photos, social media users have the opportunity to visit many exhibitions online thanks to the live broadcasting application. At the same time, artist interviews have also destroyed the distances between the artist and his audience, making the relationship between the audience and the artist accessible. The third example of social media photography Project of the study is Izmir Poetik. The efforts of the institutional environments in the process have also guided personal initiatives, and they have attempted to produce such artistically stimulating and unifying projects either with new formations or with the evolution of existing formations. As an example that will be in line with this definition, the ―Izmir Poetik‖ initiative is an artist‘s initiative that comes together for creative production on the axis of psycho-geography concept in Izmir during the pandemic process and was established in November 2020. Izmir Poetik Initiative, consisting of ten artists, was established with the aim of transforming the concept and process of pandemic into a current art project through the actions of living, being on the road and walking in the city and through photography. Figure 6. Simber Atay, Time of Trip, Izmir Poetik, İzmir, 2021 This project, which I am also involved in, is a structure that has been interrupted due to pandemic and quarantine processes, which improves the negative environment that negatively affects my life rhythm due to its emotional lack as an artist, and also nurtures my flâneur spirit in which each artist contains one version or another, a structure that I personally experienced. I can say that it provides a healing process. As Mervin Coverley states in his book Psychogeography, ―This whole project is a project that becomes more colorful with the relations established with the unknowns and deals with unearthing the past as much as losing the present.‖ (Covery, 2011, p. 11). 76 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 7. Gözde Yenipazarlı, Izmir Poetik, İzmir, 2021 The fourth and final example is the Izole Project, another project that can be an example of initiatives that produce or attempt to start a movement within this framework is the isolated project, which was implemented in April 2020. ―Izole Project‖, initiated by artists from different disciplines, consists of personal memory records about the pandemic process. The works included in the project consist of photography and mixed media studies with a focus on storytelling and an emphasis on individual memory, while moving from the personal to the social (Izole Project, 2020). Figure 8. Aslihan Güçlü, Know Yourself !, Izole Project, Izmir, 2020 Karagöz states that the initiatives, which demonstrate the negative effect in the cultural and artistic environment and therefore the understanding to change the negative view of current life, are again trying to spread healing power signals in this sense: “In these days when everything is more restricted, we believed that when we gather a few friends, we will convey this state of limitation and its impact on us together, by staying in communication and through visual language, which is our primary reflex. While our public spaces, streets and individual worlds are at a dead end, we have created this platform, which we think will create a new discussion area, uniting artists who produce in different disciplines by centering storytelling. We will see where it will evolve with the updates to be shared every 77 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 week and new artists who will be involved in the process.” (Karagöz, Bianet, 2020). Figure 9. Yiğit Evgar, Izole Project, Istanbul, 2020 Together with Covid 19, changing art paradigms have enabled production and sharing, as well as bringing art and artist together from the physical environment to the virtual environment. In this process, thanks to new media technologies, this association has led to a faster organization of artist collective consciousness, and has allowed groups of artists who come together to turn into initiatives and produce together. Aydoğan and Kınık say in a way to support this; ―In the analysis of information and communication technologies, the community covers not only locations in a geographical context, but also cyberspace. These are called virtual or online communities. In fact, these online communities are strong, interconnected, supportive social solidarity groups, and these communities can make solidarity global thanks to cyberspace.‖ (Aydogan & Kinik, 2012, p. 62-63) Conclusion Today, while the negative effects of the pandemic are undeniably experienced, this process has brought a different understanding of globalization and cultural solidarity, inspiring artists and concordantly, paradigms that can be described as positive effects have started to develop. The rhythm of life caused by the pandemic created an environment that triggers creativity in an artistic sense, creating an environment for the word pandemic to be widely used as an art concept. As mentioned in the study, Castells focused on the concepts of time. Photo projects shared on social media, as Castells noted, were displayed in a virtual environment, allowing the work to always reach the audience during the pandemic process. Thereby, he made the accessibility of the artwork possible at all hours, linking it to the situation Castells was talking about. Each passing century brought with it new technological developments and, accordingly, social changes. In this process, social media tools have penetrated the art and cultural environments, as in all areas of life, proving that the form of perception that we call ―futuristic‖ is actually not far away for the artist, the presentation environments of art, and the art audience, who have also turned into active participants. Giddens, who stated that social relations stretch over distances, talks about the concept of spatial intimacy, as you will remember. Artists in the international examples we discussed in the study can point to the stretching potential in Giddens's conceptualization by bringing them together even though they are spatially distant from each other. 78 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 As quoted in the text of the proclamation, Baudrillard mentions the art universe, which combines with the characteristics of the age in 21st century art, has a hybrid structure due to its use of physical and virtual technology together. The most important output of the samples that caused the covid 19 pandemic process to emerge and were shared through the photo productions and social media we examined; continued accessibility to the viewer thanks to new media tools when the physical space is not accessible. Hereby, the intense contact of art and artists with the audience and each other in an interactive and virtual environment transformed the rhythm of loneliness in quarantine processes into a creative union. In line with these ideas, this study has tried to reveal the healing power of art, especially psychologically, much more intensely in concrete terms. References Aydoğan, F., & Kınık, M. A. (2012). New Media as Alternative Media. Akdeniz University Faculty of Communication Journal, 58-59. Barthes, R. (1996). Thoughts on Camera Lucida Photography. (R. Akçakaya, Trans.) Istanbul: Altıkırkbeş. Awesome, Ç. T. (2021). Art-Artist-Audience in the Shadow of the Pandemic. Seven Art Design and Science Journals, 51-67. Baudrillard, J. (1995). Transparency of Evil. (E. Abora, & I. Ergüden, Trans.) Istanbul: Details. Benjamin, W. (1995). Passages. Istanbul: Yapı Kredi Publications. Boyacıoğlu, Ö. (2021). The Spatial Effect of Covid-19 Pandemic on Music Festivals: “Virtual Festival”. Ethnomusicology Journal, 265-310. Covery, M. (2011). Psychogeography. (S. Serezli, Trans.) Istanbul: Kalkedon. Çezercioğlu, A. (2011). Extreme Metal Scene in the Context of Globalization: Izmir Metal Atmosphere. Unpublished Doctoral Thesis. Izmir. Isolated Project. (2020, 04 17). Retrieved on 04 11, 2021 from www.izoleproject.com: https://www.izoleproject.com/izole. Karagöz, Y. (2020, 05, 23). Bianet. Retrieved on 04 7, 2021 https://m.bianet.org/bianet/sanat/224677-pandemi-gunlarda-sanat-izole-project. from Bianet: Karagöz, Y. (2020, 05, 23). Bianet. Retrieved on 04 05, 2021 from www.bianet.org: https://bianet.org/biamag/bianet/224677-pandemi-gunlarda-sanat-izole-project. Tuğal, S. A. (2018). Digital Art in the Formation Process. Istanbul: Dreamer. www.iksv.org. (2017). Retrieved on 2020 from IKSV: https://www.iksv.org/i/content/226_1_KatilimciYaklasimlar_2017.pdf. www.istanbulmodern.org. (2020, 06 01). Retrieved on 03 20, 2021 from Istanbul Modern: https://www.istanbulmodern.org/tr/koleksiyon/pandemi-günlerinde-fotograf/114. Visual Bibliography Akgül, Y. (2020). Silent Istanbul, Photograph in Days of Pandemic,. Access Source: https://www.istanbulmodern.org/tr/koleksiyon/pandemi-gunlarda-fotograf/114?t=3&id=2583 Date of Access: 07.05.2020. Strübin, A. (2020) Art gives comfort. Access Source: http://cumulus.blaue-ampel.de/pan-diary1 Date of Access: 07.05.2020. 79 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Yenipazarlı, G. (2020) Pandemic Days ,. Access Source: http://cumulus.blaue-ampel.de/pandiary-1 Date of Access: 07.05.2020. St. Antonius, (2020) Instagram: Tussen Kunsten & Quarantaine,. Access Source: https://www.instagram.com/tussenkunstenquarantaine/ Access Date: 07.05.2020. Marsille, L. (2020) Instagram: Tussen Kunsten & Quarantaine,. https://www.instagram.com/tussenkunstenquarantaine/ Access Date: 07.05.2020. Atay, S. (2021) Instagram: Izmir Poetik,. https://www.instagram.com/izmirpoetik/ Access Date: 07.05.2020. Yenipazarli, G. (2021) Instagram: Izmir Poetik, https://www.instagram.com/izmirpoetik/ Date of Access: 07.05.2020 Access Access Access Source: Source: Source: Güçlü, A. (2021) Instagram: Izole Project https://www.izoleproject.com/aslihanguclu Access Date: 07.05.2020. Access Source: Evgar, Y. (2021) Instagram: Izole Project, https://www.izoleproject.com/yigitevgar Access Date: 07.05.2020. Access Source: 80 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The Psychological Effects of the Relationship between Artist and Work of Art on the Artist in the Creative Process Esin Berktaş Beykent University, sagliklihayat@protonmail.com Creativity is a "sudden insight", an ―instant glow" in which people invent new ideas and shape them with new materials. This is a mental activity in which artists go through natural, sociological, psychological and cultural processes. The artist's own inner world shapes the artworks that it produces, the social conditions and the way it perceives the world. This shaping is twofold. While creating the artist's work, the artwork that started to appear also affects the artist's intellectual, emotional and visual world. In order to analyze the relationship between the artist and the artwork, we can examine the stages that the artist went through while creating its artwork. The stages of creativity are briefly listed as: 1. Preparation: Dealing with any issue 2. Design: Trying to solve the issue 3. Enlightenment: Finding various solutions related to the problem (form of expression, material used, analysis etc.) 4. Verification: Evaluating the solution by sharing it with others Each of these stages is a transformation that the creative artist goes through. During these developments, which are part of a painful and multi-layered processes, a contradictory interaction occurs between the artist and the artwork. One of the most critical features of this connection is that the artist identifies the imagination world that is, it personalizes the work. Of course, it will be an intriguing question of how the artist will complete its work, which is a personal creation, without ―personalizing‖ it. However, an artist stance that can look neutral to its own work can do this, and this is actually one of the indispensable qualities of creativity. In this study, the possibilities of a process in which the artist can both look neutral to his own creativity and be creative without creating a dual world it shared with its work will be explored. Stages of the Creative Process The first preparation process of the artist before producing a work begins with his attention to a subject s/he chooses to work on. In selecting this, factors such as personal history, experiences, current social developments, popular themes, intuition for any topic, sensory and perceptual influences, physical and economic possibilities of turning the subject into a work are effective. This period, in which the artist almost "connects with passion", is the period in which s/he investigates all details about the subject and previously tried and traditional approaches to the subject. In the designing period that came after this ―infrastructure‖ period when the artist started to prepare his/her work, a new expression, a unique form of expression and a symbolization system began to appear. The artist comes to the stage of redesigning and presenting all available data to solve the tension created by the theme in the mind. This period, in which creativity operates in its sharpest form, is a psychological, sociological, cultural, philosophical phase in which the artist exhibits his most personal approaches (otherwise it is not possible to develop a new narrative). The artist presents sections from his own life in his draft-work. The work also affects the artist's life with its development that sometimes becomes independent from the artist. The design period, which is the most difficult and ―anxious‖ period of creativity, can turn into an abyss that binds the artist's hands with its contrasting and contradictory features. ANXIETY CREATED through THE CREATIVE PROCESS Considering the relation between creative process and anxiety is a major subject in psychoanalytic theories especially for existentialist psychologists, philosophers and artists. According to them, it is certainly 81 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 not usual to say that all anxiety is rooted, ultimately, in the survival instinct. It is implicit in the organism‘s capacity to react to threat, regardless of the threat‘s origin. The capacity is expressed instinctively in terms of normal anxiety. As Rollo May notes ‗the only assumption necessary is that the human organism has the capacity to react to threats, a capacity which its ancestors possessed likewise‘7. Neurotic anxiety, nevertheless, is learned. According to May, ‗the capacity for anxiety is not learned, but the quantities and forms of anxiety in a given individual are learned‘ 8. It is rooted from the relationship between mother and child, a social matrix which eventually expands to include the entire immediate family. As a concomitant of these two kinds of anxiety, free-floating anxiety acquired simply by living in the cultural milieu. This has always been so, and, as many contemporary psychologists have noted, never before have the levels of threat and stress sustained by man been greater than in that absorbed by twentieth-century society. The painful design period, therefore, may cause the artist to overextend from time to time and turn towards a general solution that is short-cut and completes his work with traditional methods. These developments, which mostly make the artist almost necessary for a schizophrenic, binary world between his own universe and the universe of his work, can cause the creature to personalize, to evolve into a closed world, to complicate his language and to get involved in social processes. In fact, this schizophrenic process can turn into a ―sensual torture‖ that blunts the creativity of the artist. Rollo May -in his book The Discovery of Being, argues that anxiety is more than a psychological affect such as pleasure and sadness but, it is rather an ontological characteristic of human beings. 9 Anxiety as ‗the experience of the threat of imminent nonbeing‘ is the individual‘s becoming aware that his/her existence can become destroyed, that s/he can lose itself and its world that can become ‗nothing‘10. Therefore, anxiety always involves inner conflict and strikes at the central core of somebody‘s self-esteem. It occurs at the point where some emerging potentiality or possibility involves the destroying of present security, which thereupon gives rise to the tendency to deny the new potentiality. This is also why anxiety is so profoundly connected with the problem of freedom; if the individual did not have some freedom to fulfill some new potentiality, s/he would not experience anxiety. Kierkegaard described anxiety as ‗the dizziness of freedom‘11 and added that ‗it is the reality of freedom as a potentiality before this freedom has materialized‘. This positive aspect of Angst assumes that it is the potentiality to conform the threats of non-being as well as being aware of that threat. Therefore, according to these theoreticians, anxiety is the construction (identification) of threats for self in order to be protected against them. On the other hand, for Heidegger anxiety confronts Dasein with the knowledge that it is thrown into the world: ‗In anxiety, there lies the possibility of a disclosure that is quite distinctive; for anxiety individualizes. The individualization brings Dasein back from its falling and makes manifest to it that authencity and inauthencity are possibilities of its Being. These basic possibilities of Dasein (and Dasein is in each case mine) show themselves in anxiety as they are in themselves- undisguised by entities within-the-world, to which, proximally and for the most part, Dasein clings.‘12 Many examples of artists, lost in devastating and destructive artistic processes, can be given in various fields of art. The tides between the creator's work and his own life in a binary universe "similar to personality division" causes the artist to live in a chaotic world where images and symbols fly. In addition, the artist's identification with the work as a result of this dual process causes him to be subjective, touchy and hypersensitive at the stages of perception, criticism, and evaluation. It personalizes the ―perception of the work‖ as well as the artist work. In addition, the artist, who is exhausted and weary in these developments, will have to go through an effective screening, resting and accumulation process for his next possible work. 7 May, Rollo. The Meaning of Anxiety. (NY: Washington Square Press: 1977). p. 191. From the book Anxiety and Musical Performance by Dale Reubart. (NY: Da Capo Press: 1985). p. 20. 8 Ibid. p. 192. 9 May, Rollo. The Discovery of Being, Writings in Existential Psychology. (NY: W.W Norton & Company: 1986). p. 109. 10 Ibid. p. 110. 11 Ibid. p. 112. 12 Mulhal, Stephen. Heidegger and Being and Time. (London: Routledge: 1996). p. 110. 82 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 When the challenging processes of creativity are not "well managed", the artist has an effect that can damage the whole relationship between the artwork, the audience. In short, it is not a ―sine qua non‖ method for the artist to convey his own personal life or identify with his work to create a work. It is possible for the artist to communicate with them through observation, analysis and empathy instead of identifying with the situations and facts that he wants to tell with his work. This "creative distance" that can be established by the method of alienation between the artist and his work can increase the vital quality of both the work and the artist. Consequently, parallel ―fictional‖ universes created by the process of creating a work of art in the mind of the artist can be evaluated as one of the side effects of the production process and can be directed by the artist so that he can maintain the balance between life. In order to ―produce‖ something despite the destructive and irrational processes that are inherent in creative action, the artist must be aware that everyday life outside of artistic activities is also part of its existence. It is an expression of respect for both artists and the arts, remembering that a significant part of the word falls on them, considering that each artist has something to say on their own experiences. REFERENCES 1. May, R. (1987)Yaratma Cesareti. İstanbul: Metis. 2. Reich, W. Dinle Küçük Adam. İstanbul: Payel. 3. Gençalp, B. (2019). Dijital araçların görsel sanatlar dersinde kullanılmasının öğrencinin yaratıcılığına yönelik görsel sanatlar öğretmenlerinin görüşleri, (Unpublished master‘s thesis). Bahçeşehir Üniversitesi Eğitim Bilimleri Enstitüsü, İstanbul 4. Lev Vygotsky. The Psychology of Art. Date of access: 13.4.2011, http://www.marxists.org/archieve/vygotsky/works/1925/ch10.htm 5. Lev Vygotsky. Art and Life. Date of access: 13.04.2021 http://www.marxists.org/archive/vygotsky/works/1925/art11.htm 6. Sabeti Roy. The Psychology of Creativity: Reflections in Psychology Part I. Date of access: 13.04.2011, http://www.lulu.com/content/5865445 7. Liane Gabora. Cognitive Mechanisms Underlying the Creative Process. Date of access: 04.04.2011, http://cogprinta.org/2546/1/Cadc.htm 83 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Investigation of Aliye Berger's Lyrical Works in the Context of the Act of Creativity Merve Kahraman Dokuz Eylül University, mervekahraman716@gmail.com Aliye Berger, who has made a name for herself with her original print art works and her work named 'Güneşin Doğuşu', it bear the an important identity in Turkish art. She reflected all the emotions she experienced and felt in her works in a legible and original and lyrical manner. Berger, in the face of unfortunate events he experienced, became close to the art of painting he had met in his childhood. The artist, who has a colorful personality, always proceeded in his own line and did not belong to the groups where there was generational conflicts of the period. Emphasizing that see the world in color, Berger has reached a privileged stage in the history of Turkish art by educating himself with respect to his essence and soul. Berger, who created colorful writings along with portrait and landscape engravings, was one of the pioneers of the period. This study is handled from two angles: First, Berger's unification with the turning point of her life, the art of painting; Secondly, by producing compositions in which art expresses its pains with the healing power of art, her works whose life is integrated with her art are evaluated. Keywords: Aliye Berger, Expressionism, Act of Creativity, Lyric, Engraving Introduction It is known that creativity, in general, has a past that pushes to create everything, presumably as old as me (Ağluç, 2013, p. 3). According to Plato, the things that they should make clear on the way to progress and the athletes going; They are about not being able to fully explain reality. About this content, British playwright Webster defines creativity as making, showing off. It is characterized by a planned or thoughtful consciousness in the image (May, 2019, p. 63). Talent and creativity have meanings that should not be confused with each other. It is known that talent is an important issue not only for people engaged in artistic activities, but also in other fields. As each person can have different abilities, the concept that must be possessed while transferring these characteristics to creativity is the act of creativity. Aliye Berger, who is one of the leading artists of printmaking in Turkish art, has made herself competent in the field of painting, which she has developed as a result of many experimental studies starting from her childhood, being familiar with art from her family. He has freed himself in the field of painting in the face of the events he has experienced with the act of creativity and has a unique structure by trying various techniques in his works. 84 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 1 Aliye Berger (1903-1974) He was born on 24 December 1903 in Büyükada, Istanbul. His father is Kabaağaçlızade Mehmed Şakir Pasha and his mother is Sare İsmet Hanım from Crete. Their eldest daughter, Hakkiye Hanım (Fürey Koral's mother) was known for her hand embroidery and her second daughter Ayşe Hanım was known for her pianist. Painter Fahrünnisa Zeid, the third daughter of the family, was a world painter as it is known, and their son is the writer Cevat Şakir, nicknamed "The Fisherman of Halicarnassus". Aliye Berger, the last child of the family, is the aunt of the first female ceramic artist of the Republican era, Füreya Koral, actress Şirin Devrim, and painter Nejat Devrim (Çitaklar, 2011, p. 113). Photo 2 The artist, who completed his primary education at the primary school in Büyükada, was enrolled in the French school called Notre Dame de Sion in Istanbul, like his older sister Fahrünnisa, and began to learn English and French. He got to know the East-West culture by adding painting, piano, Quran, Arabic and dance lessons to his education, which was continued at home due to the First 85 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 World War. Aliye's educational journey ends when she takes the exam at the French Embassy and receives her diploma at the age of 17. The artist was influenced by writers such as Voltaire, Strindberg, İbsen and Dostoyevsky at a young age, he wanted to be a writer (Noyan, 2002, p. 6). Photo 3 The artist's acquaintance with paint was learned at the age of 17-18 when it was revealed that he used painting materials of his older sister Fahrünnisa. When Aliye was 21, she met the violin teacher, Hungarian violin virtuoso and pedagogue Karl Berger, whom her niece Füreya Koral took private lessons from. Subsequently, with Aliye taking violin lessons, their relationship, which lasted for 23 years, first as a student and then as a life partner of Karl Berger, resulted in marriage. Karl Berger, whom he called "my husband and my last teacher" before their marriage was 6 months old, died of a heart attack (Gül, 2016, p. 157). He went to London with the support of Fahrünnisa to help Aliye, who had a bad day, get rid of her mental depression. Her older sister, who encouraged her to console herself in art, directed Aliye to the art of painting. Seeing herself as unsuccessful as a result of her charcoal and oil painting attempts, Aliye started a sculpture and engraving workshop. After a few sculptures, she realized that she had a tendency to engraving. He worked on various types of woodcut art at the John Bucland Wright Atelier in London for 3 years, and when he returned to Istanbul (1951), he opened his first personal exhibition in Turkey with an exhibition of 140 pieces (Toros, (n.d.), p. 90). 86 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 4 Photo 5 87 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 6 «Untitled», 1957. Photo 7 88 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 8 Photo 9 «Seagulls», 17x13 cm. «Carl Berger», 35x25 cm 89 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 10 Photo 11 90 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 12 91 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 13 Photo 14 92 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Aliye explained why she preferred engraving over painting or sculpture in an interview with Tunç Yalman in the Vatan Newspaper dated 19 September 1954:Because my suffering was so great. I couldn't see the world in color. There was a second reason. It's hard to explain: I was working on copper in engraving, and its glow under the light attracted me, giving life to the shapes I wanted to create. In fact, shapes that only exist in my imagination appear like a mirage in that glow, and that mirage became reality as I worked on copper. I had suffered a great disaster in my life, it was almost as if my art filled my life in the same way as shapes covered copper. With the copper plate, the harmony of my empty life and the life I tried to fill was the same (Yalman, cited in Noyan, 2002, p. 14). The artist generally made black and white engravings, but he constantly tried to improve his technique. He expresses his preference for black-and-white engravings as follows: ―(…) In my blackand-white engravings, I could not always find the light in color that I find in the intermediate tones of these two colors (I have always seen black and white as colors with possibilities)…» For this reason, The artist's black-and-white engravings outnumber the colored engravings. Photo 15 Aliye Berger, Sunrise, 200x300 cm, 1954. Aliye's abstract composition, The Birth of the Sun, which is the symbol of intense production dynamism, won the painting category in the competition themed "Business and Production in Turkey (Production)" organized by Yapı Kredi Bank within the scope of the Istanbul Congress held by the International Association of Art Critics (AICA) in 1954. received the first prize (Şahin, 2019, p. 407). The winning of the first prize by Aliye Berger, who was known only as an engraving artist until then, caused a great reaction. Aliye's colorful and poetic interpretation attracted a lot of attention, with many of the paintings participating in the exhibition having a cubist style. Writers and artists of the period, such as Zahir Güvemli, Bedri Rahmi Eyüboğlu, and Cemal Tollu, came to the fore with their critical writings for the work entitled Sunrise (Antmen, 2013, p. 113). 93 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 16 «Ciftetelli» Photo 17 «Mevleviler» 94 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 18 Mixed technique on bandage. Photo 19 <Besktasiler> 95 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 20 Aliye Berger participated in 12 solo exhibitions and 48 group exhibitions in various cities of the world for twenty-twenty-five years. His special exhibitions were held in major art centers such as Paris, London and Vienna, and the group exhibitions he participated in were held in fourteen foreign cities. His works are in Istanbul Painting and Sculpture Museum, Vienna Albertina Museum and many private collections. Aliye's health did not allow as a result of her illness and she died on August 10, 1974 in Büyükada (Can, 2016, p. 1028). Photo 21 Aliye and Karl Berger, Büyükada, 1947. Yusuf Taktak Collection- SALT Research Archive. 96 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Photo 22 Conclusion The artist, who set out with her personality and emotions in her art, laid the groundwork for the abstract painting trend as a leading female artist in Turkey. She has produced black and white and colored works in various techniques, inspired by landscape, portraiture and its environment. Therefore, naturalness prevailed in the figures and compositions in his paintings. She took part in the art world with the techniques she started and developed experimentally in the drama she lived in. Aliye, who also cares about Karl Berger's aesthetic view, believed that her only consolation was to find the healing power in art with her creativity and talent, by working for the sake of creating something good. Bibliography Agluc, L. (2013). Human and Creation Motive in the Context of Art and Creativity. Mediterranean Journal of Humanities, 3(1), 1-14. DOI: 10.13114/MJH/20131645 Antmen, A. (2013). Identity Bodies. Istanbul: Sel Publishing. Can, G. S. (2016). Featured Women Artists from Tanzimat to Republican Era Turkey. İdil Magazine, 5(23), 1017-1036. Çitaklar, H. (2011). Alyosha Ankara: Imge Bookstore Publications.Gul, S. N. (2016). Traces of "Istanbul" in Aliye Berger Engravings. (M. Nuhoğlu, Du.) International Istanbul Printmaking Activities, 156-163. May, R. (2019). Courage to Create. (A. However, Trans.) Istanbul: Metis Publishing.Noyan, M. (2002). Aliye Berger and her Art. Master Thesis. Istanbul: Mimar Sinan University Institute of Social Sciences. Şahin, S. (2019). Leading Women Artists in Turkish Printmaking and Their Contributions to Printmaking. İdil Magazine, 8(55), 403-413. doi:DOI: 10.7816/idil-08-55-14 Tolun, E. O. (2015). A Sign of The Past: Aliye Berger. Global Journal on Humanites & Social Sciences(1), 279-282.Toros, T. (n.d.). Aliye Berger with her Life and Art. 85-92. 97 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Visual Bibliography Photo 1 Ural, M. (1995, January 22). A Life: Aliye Berger. (461). Republic Journal. Received in April 2021. Photo 2 Toros, T. (n.d.). Aliye Berger with her Life and Art. 85-92. Photo 3 Taurus, T. (n.d.). Aliye Berger with her Life and Art. 85-92. Photo 4 Noyan, M. (2002). Aliye Berger and her Art. Master Thesis. Istanbul: Mimar Sinan University Institute of Social Sciences. Photo 5 ―Berger's death was for two.‖ (2017, August 10). Retrieved in April 2021 from Adalar Postasi: https://adalarpostasi.com/2017/08/10/2839/. Photo 6 Aliye Berger's Works and Life. (2018, June 04). Retrieved from Leblebitozu: http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/ in April 2021. Photo 7 Aliye Berger's Works and Life. (2018, June 04). Leblebitozu in April 2021: Retrieved from http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/. Photo 8 Aliye Berger's Works and Life. (2018, June 04). Retrieved from Leblebitozu: http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/ in April 2021. Photo 9 Aliye Berger's Works and Life. (2018, June 04). Leblebitozu in April 2021: Retrieved from http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/. Photo 10 ―Berger's death was for two.‖ (2017, August 10). Retrieved April 2021 from Adalar Postasi: https://adalarpostasi.com/2017/08/10/2839/. Photo 11 ―Berger's death was for two.‖ (2017, August 10). Retrieved from Adalar Postasi: https://adalarpostasi.com/2017/08/10/2839/ in April 2021. Photo 12 Ural, M. (1995, January 22). A Life: Aliye Berger. (461). Republic Journal. Received in April 2021. Photo 13 ―Berger's death was for two.‖ (2017, August 10). Retrieved in April 2021 from Adalar Postasi: https://adalarpostasi.com/2017/08/10/2839/. Photo 14 ―Berger's death was for two.‖ (2017, August 10). Retrieved in April 2021 from Adalar Postasi: https://adalarpostasi.com/2017/08/10/2839/. Photo 15 Aliye Berger Works and Life. (2018, June 04). Leblebitozu in April 2021: Retrieved from http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/. Photo 16 Aliye Berger Works and Life. (2018, June 04). Leblebitozu in April 2021: Retrieved from http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/. Photo 17 Aliye Berger's Works and Life. (2018, June 04). Leblebitozu in April 2021: Retrieved from http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/. Photo 18 Aliye Berger's Works and Life. (2018, June 04). Leblebitozu in April 2021: Retrieved from http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/. Photo 19 Aliye Berger's Works and Life. (2018, June 04). Leblebitozu in April 2021: Retrieved from http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/. Photo 20 The Works and Life of Aliye Berger. (2018, June 04). Leblebitozu in April 2021: Retrieved from http://www.leblebitozu.com/aliye-berger-eserleri-ve-hayati/. Photo 21 ―Berger's death was for two.‖ (2017, August 10). Retrieved in April 2021 from Adalar Postasi: https://adalarpostasi.com/2017/08/10/2839/. Photo 22 ―Berger's death was for two.‖ (2017, August 10). Retrieved in April 2021 from Adalar Postasi: https://adalarpostasi.com/2017/08/10/2839/. 98 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Covid-19-Pandemic, Communication in Public Space and Graphic Design Selma Kozak Dokuz Eylül University, selmakozak@gmail.com Design and designing information are essential, even in times of a crisis. they encourage people to reflect on their actions and change their habits through conveying the idea, thought and message from one mind to other minds. They motivate people to behave appropriately or inform them according to social, environmental and cultural circumstances. Accordingly, ―making complicated information understandable is becoming the crucial task facing designers in the 21st century‖ (Bierut, 2012). Everything is designed. Graphic design has the power being the most communal field. And probably, it is the best way to spread information to the public and is the way to clarify, to simplify, and to make information accessible to the people who will need it and use it to make important decisions and the most effective one to achieve these. ―Information needs to be in a form people can understand and use meaningfully, and to tell the truth of what things mean and how they work‖ (Katz, 2012:10). With Covid-19-pandemic, communication in public spaces has become vital. Nowadays, when it comes to raising public awareness, accessibility of information became significant more than ever. Public space became a space where needs to be organized people behaviors during pandemic and became a space where needs to be designed and a space without limit to spread the information. Unexpected times need unexpected precautions. Governments, municipalities, health departments and even some organizations which want to raise public awareness alter their health policies. Graphic design makes these rules, precautions and policies visible almost everywhere. In this context, by offering some specific graphic design examples made in public space by Izmir Metropolitan Municipality with the intent of protecting public health, the study aims to evaluate the effect of graphic design and communication and their power when it comes to make the restrictions visible during pandemic. Keywords: graphic design, communication, public space, Covid-19, graphic design during pandemic. Introduction Visual imagery has always been especially important in reaching the more disadvantaged parts of society. Speaking through images helps the illiterate understand, minority cultures accept the recommendations of the majority and the marginalised become part of the wider community. In this unprecedented global situation, public health messaging must reach every corner of the globe, and resonate with every language and culture to effectively prevent the spread of the virus (Turnbull, 2020). For this reason, communication in public spaces is a key factor to concentrate on it during outbreak and public space became a first place to organize and change human behavior to prevent the spread of the virus. Designers across the globe have been using their skills to offer simple and effective life-saving messages to provide a global communication and also they use some humor and light relief elements in their design to make people feel better at this difficult time. Nowadays, we‘re seeing some great examples of how design can be used to reach out to others and how design can play a role when it comes to protect public health. During unexpected times, communication needs to be done according to 99 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 communities needs and societies expectations. Time, cultural factors, society‘s situations and recent conditions like coronavirus now can alter communication needs and the channel of communication. All of that needs and expectations, developments, obligations or restrictions can cause a paradigm shift. During Covid-19 pandemic, probably the best way to understand that is to see a new design language or design philosophy giving to people simple information, motivation, hope and recent developments about current situations. Designers working with governments, municipalities, health departments and organizations has created a lot of different Covid-fighting graphic, signs or signage, decals or floor vinyls design to appeal to different audiences all around the word to reshape societies collective behaviours. Some are serious, some includes humor with sort of slogans. Simple slogans, moreover, both comfort and instruct in a trust worthy, yet behaviour-changing manner. In this regards, to understand how graphic design can be vital to protect public health and how can be used a visual weapon during current crisis will be at the center of the paper, and how graphic design became on the front-line supportive field at this difficult time will be analyzed giving that some specific graphic design examples made in public space by Izmir Metropolitan Municipality. Communication in Public Space during Covid-19 Guy Debord explained the losing of communication language and the need to reinvent of a common language in his classical book titled The Society of the Spectacle and Debord has also given two sides as a positive and negative explaining ―art is a common language‖. According to Debord, ―the positive significance of the modern decomposition and formal destruction of all art is that the language of communication has been lost. The negative implication of this development is that a common language can no longer take the form of the unilateral conclusions that characterized the art of historical societies-belated portrayals of someone else's dialogueless life which accepted this lack as inevitable-but must now be found in a praxis that unifies direct activity with its own appropriate language‖ (2014: 100). On the other hand, nowadays, human beings struggle a global pandemic (Covid-19) which is it is a new situation for all people or even all living creatures. The world is on the edge of a major change. Accordingly, communication in public space has altered rapidly according to extraordinary pandemic conditions. And, art and design were on the stage and became key factors in the spread information, helping to change human behaviours, organizing human mobility and providing messages simply and effectively to the mass. Therefore, art and design have gained new missions both ethical and aesthetics during pandemic. Herein, reassessing Debord‘s ideas concerning “art is a common language of social inaction” will be supportive today‘s communication needs in public space. Debord (2014: 100) stated that ―the common language is a declaration of independent art and it ensures the integrity of all separate culture in modern sense.‖ Hence, today, during pandemic, art and design have become a common language of society, not to inaction but to encourage the social agency. Furthermore, in this extraordinary times, ―our need to hear and be heard, see and be seen, touch and be touched, that is, to communicate with our fellow humans, is fundamental to our well-being and, indeed, our survival‖ (Calori, 2015: 2). Covid-19 pandemic is a global issue that all countries try to act similarly to prevent that unforeseen disaster. Thereby, probably, humanity needs visual communication more than ever. Coronavirus and its conditions have changed societies characteristics. As humanity, we have to behave more different than ever. New concepts, numbers and rules, for instance, became parts of our everyday life such as social distancing, wearing a mask, 1,5 or 2 meters of social distancing, lockdown, lockdown measures, quarantine, physical distance etc. Also, some simple slogans are at the center like stay at home or wash your hands. Visualizing these numbers, rules, information and data or display the slogans to the mass in order to convey the messages is a crucial mission to reduce possible risk of coronavirus for governments, local authority, municipalities, health departments and even organizations. Those institutions benefit from the potential of the healing power of design or they need it to make the rules, instructions or currents data visible. Moreover, communication in public space is no longer optional but necessity for public health. Covid-19-Pandemic and Graphic Design 100 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 ―Where there is a message to be communicated, there will be design. Throughout history, visual communication has been central to conveying crucial messages and now is no different. Although perhaps not on the frontline, creatives, designers, artists, can all play their part in sharing and spreading information which will save people‘s lives‖ (Turnbull, 2020). With the outbreak of COVID-19, we‘ve seen the governments and organizations using the main and effective messages and graphics which give simple, yet clear, instructions to people as to what they should do during the unexpected times. Simple messages and instructions, however, essentially require creative solutions. Designers, by their very nature, are creative problem solvers. They seek creative solutions to answer even the most complex of briefs ( (Hydracreative, 2020). ―Graphic design plays a significant role in the front-line response to infectious disease, making life-saving messages accessible to all. And designing the communication can have in matters life and death in times of crisis‖ (Roberts, 2020). Graphic design, by its nature is used to inform the people and used to raise awareness. The field updates the communities according to new situations and conditions, which vary from social changes to politics, from recent developments in society and instructions by any organizations (regardless of official, for profit or non-profit) to public health subjects. So, during coronavirus, the mission of graphic design became the changing human behaviours. According to Sodha (2020), ―public health is all about behaviour change and a public health strategy lives or dies by the effectiveness of its communication. Any information campaign needs a clear instruction, wrapped up in messaging that persuades people to change their behavior‖. Therefore, graphic design is one of the best way to save public life and health by visualizing all instructions, especially when it comes to unexpected global-deadly outbreak. Throughout the pandemic, governments, municipalities, health departments and even some organizations placed and published a great variety of design. The Covid-fighting graphics that we‘re now familiar with, both internally and externally are parts of our lives. From bus station, to subways, from supermarkets to mall, from school to universities, even on the street, public transport vehicles and from workplaces to offices, website to social media tools from advertising to all media tools include that Cocid-fighting graphics and signage. Herein, nowadays, saying or referring that all the new graphics and signage that we see around us every day because of pandemic has caused to emerge a new concept that is pandemic-design will not be wrong. Design has gained a mission that combined aesthetic with ethics. Additionally, the healing power of design is in front-line probably more than ever. Izmir Metropolitan Municipality, for instance, placed and installed markers and decals on the floors of subways and bus stations, inside the trains and buses that encourage straphangers to remain at least 1,5 meters from others to stop the spread of the coronavirus. And It placed a variety of posters that gave information on social distancing. The aim is obviously to keep people distanced from each other and inform them as well as to protect the public health. 101 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 1: 1,5 meters social distancing marks in Izmir subways and bus stations, photographed by Selma Kozak, March, 2020. Organizations try to reinforce and help maintain public health and social distancing with simple rules such as by reminding people stay at home and wash your hands. Moreover, at this point, it becomes an obligation to refer that the global humanistic solidarity, social responsibility, ethic mission is in fusion for the field of the graphic design and designers and also supporting that solidarity. On the other hand, during the outbreak, by gaining a special mass character, design became a common global language to support people not only physically but also psychologically. Figure 2: Poster and decal showed rules like ‗Stay at Home‘ and ‗Wash Your Hands‘ in Bus Stations, photographed by Selma Kozak, March, 2020. Conclusion Throughout the pandemic, graphic design might seem an unexpected weapon. Working handin-hand with governments, municipalities, health departments, organizations, graphic design became a crucial the behaviour change. Graphic design has especially ability of the reaching to every segment of society with its simple design language and images used during outbreak, which it gives people an understanding and sensation from disadvantaged groups of society to illiterate. As a result, pandemic has caused to emerge a new concept of the pandemic-design with all the new graphics and signage used. During Covid-19 pandemic, graphic design;  has been proven that is the most significant communication tool once more, 102 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021          combines aesthetic with ethics values, has a vital role in terms of the healing power of design, makes all the pandemic instructions visible, helps to reinforce and maintain social distancing rules, has huge potential to change human behaviours, makes life-saving messages accessible to all, has the power to protect public health, helps keep connected and support people with humor or entertaining design philosophy, has potential becoming a collective language. References Bierut, M. (2012). Designing Information Human factors and common sense in information design.https://books.google.com.tr/books/about/Designing_Information.html?id=V3WcT7Ap3t4C&red ir_esc=y Calori, C., Eynden, D. V.(2015). Signage and Wayfinding Design. A Complete Guide to Creating Environmental Graphic Design Systeam. Hoboken, New Jersey : John Wiley & Sons, Inc. Debord, G.(2014). The Sociecty of Spectacle. the Bureau of Public Secrets. Hydracreative (2020). Five ways graphic design is being utilised effectively during the current COVID-19 crisis. hydracreatice : https://www.hydracreative.com/news/design-covid19?fbclid=IwAR1pNqTqQoFulKblAWOPfywTiW1S1M8cj2n-TLuBnuMSjkqA_caIwbSInmU 9 May, 2021. Izmir Metropolitan Municipality https://www.izmir.bel.tr/ 25 May, 2021. (2021). Izmir Metropolitan Municipality Katz, J. (2012). Designing Information Human factors and common sense in information design. John Wiley&Sons, Inc. Roberts, L. (2020,). What Role Does Design Play in a Public Health Crisis? AIGA Eye on Design: https://eyeondesign.aiga.org/what-role-does-design-play-in-a-public-health-crisis/ 20 May, 2021 Sodha, S. (2020, March 26). Media experts despair at Boris Johnson's coronavirus campaign. The Guardian: https://www.theguardian.com/commentisfree/2020/mar/26/media-experts-despair-borisjohnson-coronavirus-campaign 22 May, 2021 Turnbull, L. (2020, April 7). Designing for Coronavirus: In times of crisis, design and visual messaging are more important than ever, discover the projects helping stop the spread of COVID-19. We Heart: https://www.we-heart.com/2020/04/07/designing-for-coronavirus-graphic-design-covid19/ 30 May, 2021. Supplementary References Heller, S., Ilic, M. (2013). Lettering Large: Art And Design Of Monumental Typography. United States: The Monacelli Press. Heiferman, M. (2005). City Art: New York's Percent For Art Program. New York. Merrell Publishers. 103 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The Healing Power of The Aegean and Ancient Greek Civilization of Painting and Sculpture Arts in Human History Kıymet Dirican Dokuz Eylul University, Fine Arts Education Painting Department, Graduate Program Student, k.dirican@hotmail.com The Ancient Greek art culture has great importance in the entire modern world. It is one of the highest and most universal art cultures in human history. Applles in the art of painting, Phidias and Polykleitos in the art of sculpture were praised for their works by ancient writers. The characteristic that distinguishes Greek art from the other cultures is strong realism. They want to transform natural forms into artistic forms without any restrictions. In Minoan art, one of the Aegean civilization cities, the function and hierarchies of the spaces are also emphasized with magnificent wall decorations. Mykenai and Achaeans are accepted by an original art culture. This period is linked to the central administrative system, ceremonial functions in cities and the glorification of members of noble families through a repertoire of themes that point to the existence of an ideology of heroism. According to ancient Greek art, everything that has order, symmetry and harmony is beautiful. Sculptor Polykleitos was the first person to formulate a true theory of beauty. He presented the principles that should be applied to realize the perfect human figure and built the beautiful one through sculpture. Praxiteles is representative of the deep humanization of the classical ideal. The sensuality and elegance of ptanrinal images are manifested itself in the flexibility of poses, the softness of physical depiction, the friendly and sensitive faces. Lysippos is the first great modern artist. He represents the transition between classical art is an expression of values and ideals and Hellenistic art. It develops a new proportional canon that makes the sculptures appear higher. Aegan and Greek civizations, with their artistic structures, have had an effect human history that beautifies and improves. Keywords: Ancient Greek, Ancient Aegean, The Healing Power of Art Introductıon No culture is so important to the entire modern World in western culture. Apelles in the field of painting, Phidias and Polykleitos in sculpture were praised in the works of Ancient Authors. There was no true art term in Ancident Greece. The term translated as art is ‗tekhne‘. Tekhne is anything that requires technical skill as well as following certain rules. Tekhnites are craftsmen who shape clay, melt bronze, carve stone and grind minerals to obtain paint. Craftsmen are today‘s fine arts artists. Daidalos, who is considered the first mythological artist, fascinates him in archaic culture with his creative and intelligence. Greek artists sign their Works, and stone masters in mines sing their works. They do not depend on the polis, do not spend much time on political and social relations. In The Classical Age, sculptors were paid per day epigraphic documents, as well as ornaments and models, and the reward for mental labor and creative work was higher. Socrates (436-338 BC), the Athenian orator and politician writes while defending himself. ‗My opponents say that I am really nothing more than a scribe. Phidias was a sculptor (koroplathon), or that Zeuksis and Parhasios were practicing the profession as those who portrayed offering (to pinakia)‘ (Ancient Greek Page 702). We see that the artists are positioned according to their level of performing their tekhne. In Ancient Greek Art, ‗art for art‘ is not made. The work is produced in order to comply with the agreements made and to 104 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 respond to the market demand. Production is not separate from the way of use, from the society from which its meaning originates. Monumental works are ordered and paid by the society. It is exhibited in public places. Until the end of the classical age, nature was not given much place in Greek art, it was used only with floral motifs used for decorative purposes, and the landscape contains more evocative elements than description. However, in the Hellenistic age, great importance will be given to nature in Alexandria. The human figure is privileged. With the collapse of the Minoan and Mycenaean civilizations, the human figure disappears, but BC. IX. It reappears at the end of the century, in the Geometric age, and does not disappear again. Ancient Greek art is the first and only nation's art among the nations of antiquity that placed man and anthropomorphic gods at the center of their artistic activity and made them the basis of their entire subconscious. This is because all of Greek art is based on bodily qualities. The body reflects not only physical qualities but also moral qualities. It transforms human potential into an effective tool. While the body is so important, it is not surprising that Greek art chose to depict it naked from the very beging. Acording to the idealizng view of Winckelmann (1717-1768), fort he Greeks, nudity is a means to transcend the accidental and render the human figüre independent of time and space. In the Greeks 'kalos' is beautiful, but it is used for the naked body of a 'qualified' young male citizen who has prepared for athletics competitions or war through physical exercises. Here is the competitive mindset that the Swiss Jacop Burchardt described as Greek civilization. Women are depicted as clothed because of their roles of wife and mother, and they have been worked effectively with the wet fabric method by showing the lines. She is depicted dressed in goddesses. B.C. In the middle of the IV century, Praxiteles depicted the goddess naked for the first time with the statue of Aphrodite of Knidos. Ancient Greek artists transform natural forms into artistic forms without any restrictions in theme, event and figure designs. This situation is compatible with all aspects of Greek civilization as well. In this civilization, rational common sense has enabled nature to be studied with logic. In this culture, man is the determinant of the universe. For the first time, the perception of 'Humanist' is seen in art, science and culture. As Hölscher says, it is portrayed not as the subjects appear to the eye, but in ways that are deemed important to themes and events. That is, 'conceptual' realism is seen in Ancient Greek art. In this culture, human is the determinet of the universe. For the first time, the perception of ‗Humanist‘ is seen in art, science and culture. As Hölscher says, it is portrayed not as the subjects appear to the eye, but in ways that are deemed important to themes and events. That is, ‗conceptual‘ realism is seen in Ancient Greek art. Neoclassical period and the early century XIX considered idealistic culture unique in that Greek art was able to give ideal forms to the transcendent essence of the phenomenal world. What makes Greek art civilazation unique from other cultures is the powerful reality it displays, including the Classical period. The acceleration of the transition to naturalism in the depiction of the human figüre, which Ernst Gombrich (1909-2001) defined as the ‗great awakening‘ of Greek art, occurred during the period of Aiskhylos (525-456). The word eikon, which means to compare or simulate, has also been added. This word is XX. It is used in the ‗Iconic‘ arts in the 21 st century, the image is not symbolically, but in a resemblance that gives it truth. Greek artists can summarize the whole story by capturing what Lessing (1729-1781) calls the 'fruitful moment', that is, conveying the meaning of the whole. It creates a narrative within the images, refers to the before and after of the story, and summarizes it in a single scene. For example; Myron's BC. The pose (skhemata) in which two heroes 'freeze' in the sculpture group about Athena and Marsyas at the end of the VI century summarizes the whole story. The artist achieves this by making use of the myth source of the social subconscious from the same source as the viewer. Myth is the carrier axis of Greek culture. Stories take precedence over both writing and figure as they are constantly made real through rituals. It is transformed into images in the city's temples, intermediate panels, pediments, and cult sculptures. There are mythological forms in the Greek subconscious that figurative monuments struggle with. The giants against which the Olympian gods fought, sometimes monsters eliminated by Heracles, sometimes Centaurs defeated by Apollo, and Amozons defeated by Theseus. 105 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Sculptures of Greek art are colorful, Chryzelefan sculptures are made of ivory with bare parts, and parts covered with clothes are made of bronze. Sculptures containing more than one material are multicolored. The sculptures made of marble are painted, they are quite impressive. Bronze works gave an appearance with the alloy gold color, nipples, lips with the reddish color of copper, bright silver for the teeth, and ivory or glass paste for the eye gap. Ancient Greek art has influenced our view of art for centuries. Aegean Civilizations CRETE The artistic civilization that developed in Crete in the Late Bronze Age is known as the Minoan civilization, and Sir Arthur Evans (1851-1941) unearthed the Krossos palace in excavations. In Crete, archaeologists found the remains of the extensive palaces of Aegean princes at the turn of the century. These palaces contained a sheer number of rooms and halls that mingled in a labyrinth shape and gathered around a large courtyard. The labyrinths of the Krossos palace occupy a 100x150 square meter building area in Crete (Bonnard,s. 26). The island of Crete, which played an important role in the acculturation of the Greek world, dominates this region economically and politically. II. Excavations continued in this area after the World War II. The Parisian Woman, the Prince of Lilies, and the Royal Hall were exemplary works of the region that could be given blue dolphins. The floral motifs of the frescos preserved in the Heraklion Museum were found to reflect the art nouveau style. (John F. s.69) One of the Minoan frescoes is the Parisian Woman, like the sculpture that was displayed at the entrance to the Exposition Universelle in 1900 and expresses Parisian elegance. The Bronze Age Culture of Crete –as evidenced by its architecture, vase art, sculptor and painting- forms the core of western civilization (Tekin, s. 27). PRE-PALACE PERIOD (3500-2000 BC) Vases were found in residences and functional areas in Myrtos, on the south coast of Crete and the warehouse with many vases for stocking food was managed by a limited number of individuals next to the temple dedicated to the goddess Myrtos. PRE-PALACE PERIOD (3500-2000 BC) Vases were found in residences and functional areas in Myrtos, on the SOUTH COAST OF CRETE, and the warehouse with many vases for stocking food was managed by a limited number of individuals next to the temple dedicated to the goddess Myrtos. FIRST PALACES STAGE (1900-1750 BC) In the palace, craftsmen produce luxury craft items. The Kamares pottery was named after a cave in Mount Ida where it was first found. It was quickly produced in the palace workshop in Phaistos and sent to the surrounding areas. Ceramic works have been produced in fine and wide variety. Interest has been shown to multicolored frescoes on a dark background, with light colored (white, red and orange) paints, both abstract and with motifs inspired by the animal and plant world. Far away from the production center by exchange; While vases are found in Egypt, Syria and Cyprus, the presence of luxury products and valuable materials from the Near East on the island of Crete shows us that regular exchanges take place (Eco, s. 710). IMAGES The main theme of the ornaments of Knossos is the bull, which is in the position of attack, and is located at the beginning and end of the building. Placing these images at the entrance of the palace is thought to serve as a protection. A similar approach is seen in palaces in other Mesopotamia and Syria. In the reception halls, young acrobats performing acrobatic movements on the back of the bull they caught in frescos are depicted, and these famous frescos, known as fighting bulls, are depicted similar to today's modern bullfighting. In other examples of pictures, the social class has its own expression. The most famous work of Minoan art; The 'Prince of Lilies' is the graceful young man, a king priest, carrying divine symbols. These are the lily and feather headdress and the scepter or spear which are symbols of power. 106 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 In Minoan art, there is a gender discrimination when making figures, women's skin is white and men's is red. The background behind the figures is generally neutral and naturally crafted with small details. The fresx Evans named Çiğdem Gatherer has these features. In the Minoan art, plants and animals were studied vividly and meticulously, and interest was shown in natural themes. Pottery vases contain a collection of plants. On a light background, lilies, vines, papyrus plants and crocuses painted in brown, ocher and red are depicted together. Sea animals are featured, and the surfaces of the vases are decorated with octopuses, sea stars and sea snails. In Knossos, during the Late Minoan III period, natural themes were transformed into highly symmetrically arranged forms, emphasizing their increasingly linear and organic more decorative character. The best example of the Late Minoan artifact in a chamber tomb in Haghia Triada is a sarcophagus containing frescos. Figures that are thought to have taken place in rituals are depicted. While a group of women fill the bowl with liquid, a few young people take two calves to an altar, and there is a man in a cape watching this scene. In the other long field, the bull is sacrificed. On short surfaces, two women drive a griffin-driven car, which may imply a journey to the other world. The human being who lives with his flesh and soul enters art for the first time in the Greek World. The virtuousness based on the heroic culture of Mycenae combined with the bright, colorful, active life style that was formed around the mother-goddess cult of Crete and Minoan civilizations, and that foresees life (İpşiroğlu, s 26). VOLCANO EXPLOSION ON SANTORINI ISLAND, THE CITY OF THERA BC. XVIII. The city of Thera, which belongs to the Late Bronze Age, on the island of Santorini, which partially collapsed as a result of a huge volcano eruption at the end of the century, has survived to the present day. It has political and cultural ties with the island of Crete. The murals form a series of paintings that tell us the worldview of the ruling classes. Plato (427-347 BC) mentions the island of Atlantis in his two dialogues named Timaios and Kritias. (640-560 BC) Nine thousand years before Solon, Atlantis is militarily very powerful, it has enslaved the vast majority of the Mediterranean peoples, and only Athens can help those who have lost their freedom, but the Athenian army is destroyed by the earthquake. Consisting of a volcano in the middle of the Aegean Sea, on the island of Santorini, BC. In the explosion around 1620, the city of Thera from the Late Bronze Age was under the pumice layer. As a result of the Akrotiri excavations, the finds have come to light. The volcano eruption preserved some of the late Bronze Age history of the Aegean as it was. Picture ornaments, everyday objects and architectural structures tell us all the social, artistic and religious aspects of the island residents' life. Settlements called Telkhines Street on the side of the archaeolages, cut in the north and south direction and at some points in the east direction, have come to light. The hierarchy between buildings in terms of size and ornamental elegance indicates a layered social structure. WALL PICTURES, SERIES IN THE AMIRAL'S HOUSE It is very similar to Crete in terms of architecture, material culture and religious rituals. The paintings aim to glorify both individual piety and the ideology emanating from a local brain Minoan palaces. The noble class of Thera is considered to be of Minoan origin, and the availability of documents with the inscription Lenear A supports this. Religious ceremonies are also depicted in Thera, as in the pictures in the Cretan palaces. Series of pictures have been created in architectural structures, they are thought to reflect the ideology of power. Frescos were found in rooms 4 and 5 on the upper floor devoted to cult activities of the Western House. There are deep niches in the room, thought to be for voting. At the north and west ends of room 5, there are two panels with pictures of two young people identified as Fishermen. The fact that these two young people are busy with cult activities, naked and shaved except for a pinch of hair, images the admission ceremony to the youth age, and fish are interpreted as dedication. The damaged frieze is located in the same place. In the center of the frieze, naval warfare is depicted, on a ship, warriors with short skirts, which were fashionable in the Aegean at that time, and opponents who were apparently defeated, were floating on the sea lifeless, and a ship with a broken prow was depicted. Soldiers wearing myken-style wild boar toothed helmets are advancing into the city. The men and women group is casual, the women draw water from the well. It is illustrated that the peace in city life continues thanks to the victory. A ship cortege is seen on the south facing wall. This ship cortege moves from the small city that is supposed to be Thera to a bigger city. People of different social classes testify. On the banks of 107 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 the river and outside the city there are people dressed in furry skins, men and women in urban clothing made of long tunics. Naked teen takes the sacrificial bull to the harbor, to meet the cortege. The picture in room 4 connects with the picture in room 5. After this victory, festive themes are seen for thanksgiving. It is thought to depict the royal ceremony. Two figures presenting fish are images of a special ritual brought together in collective worship. The captain motif on the stern of the ships is repeated eight times on the frieze. The parade in the sea is depicted, on the baseboard painted with wavy lines like the veins of marble this boathouse is in the form of a baldachin, which consists of wooden posts, between which a shell-shaped ox skin is stretched, decorated with floral motifs and flower chains. A bird's eye view of the landscape is depicted in the portrayal of both the sea war and the peaceful life of the city, and the coastline, the course of the river and the rocky heights are depicted. Animals and plants are depicted in detail in a wide variety of colors. The landscape is depicted traditionally rather than realistically, as we see it on the south wall of the lion hunting deer in the elevation behind the city on the coast and hard to find in Thera. Imaginary animals coexist in the south of room 5, and a wild cat and a griffin hunt seabirds among palm fronds and papyrus trees. The elements that make up the landscape carry symbolic elements. The griffon represents both divine power and royal privileges THE TRANSITION TO ADULTS In the painting decoration surrounding the adyton of Xeste 3, the purification pool is envisioned entirely by women. Three women are depicted on the rocky where crocus bushes grow. One of them, with the exception of a few nozzles, has his head shaved, referring to his youth before joining adults in comparison to Egyptian sources. Touching her bleeding foot, the woman has a crown of leaves on her head and sits on the rock in the middle..In the upper scene there is another related painting, on one of the painted walls, again, shaved young girls are pictured collecting crocus in a rocky area and putting them in a basket to present. On the other hand, the goddess sits on a high platform behind an ape. (These animals are found both in knosos and in the crocus collector). This painting is a sacred depiction, a ritual for young girls to reach adult maturity, held in honor of the goddess. Block B contains depictions of possibly adolescent boys reaching maturity. The walls in the north, south and east directions of this hall are drawn on a white background in plain, dark lines, decorated with six running antelopes, their mouths are open, their tails are raised, their heads are surrounded by the nearby one. It has been interpreted as describing the struggle in nature. On the south facing wall, two adolescent boys, whose decency is covered with cloth, fight boxing. The show of strength and masculinity has been repeated and reinforced in both animals and humans. Thera paintings are vivid, people, animals and plants are depicted with the same meticulousness. In these paintings, social order and natural order reflect each other. In order to make the concept of life permanent, they painted rituals with figures. MYKENAI AND AKHA CITIES BC. XV. XIV at the end of the century. Between the beginning of the century, a distinctive art culture was formed on the Greek mainland, consisting of both the ceremonial function and the central administrative system, which included the heroism of noble families. In the Palace of Pylos, in the central hall, there is a fresco where the bull is depicted, the king is behind the throne. In the freq, a figure playing lyre is seated on a rock. The lyre-playing figure is probably the king himself, surrounded by a ceremonial feast, the Warriors Crater adorned with two rows of soldiers among the ruins of a house in the three-legged Mykenai shows us the traditions of warfare and feasting. B.C. XIII. In the 16th century, the walls of Mykenai were enlarged in Ring A to contain the old tombs and the huge Lion Gate was built. It is a relief depicting a lion. Overlay technique has been used. It is located on two styles. It is the ancestor of extraordinary landmarks. On two altars, it was argued that the heads of the lions with their feet lost, the heads could be birds, the mythological dragons, and the dragon called Grifins in mythology. It makes sense to assume holiness. Standing lions stand upright like human beings, like the power of the mighty king. This relief, unique in Greece and bearing the Hittite influence, is a symbolic depiction of the royal power through the guard animals that guard the palace. In Boiotia, terracotta sarcophagi produced in Tanagra. There are scenes from the funeral ceremonies, which are the same as the art of the figurative and geometric period, in these ritual- 108 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 based scenes, the female figure laments herself symbolic wounds at the beginning of the deceased, duel, struggle between bulls and symbolizing the dead among heroes. GREEK CIVILIZATION BC. VIII. Among the elegant ornamental motifs on the surfaces of the geometrically painted vases from the second quarter of the century are the first grift figurative scenes of Greek art. The subjects, created in a glorious simplicity with funerals and war themes, deal with the values and ideals of the noble elite class of the developing society. GEOMETRIC ART (BC Between 900 and 700) painted ceramic works originated from the distinctive decorative style. The most avant-garde artists are vase painters, geometric period pottery works are crucial to understanding the later development of Greek art. They enable me to learn about the cultural and anthropological aspects of this age. Almost the entire surface of the vases is covered with very dense geometric motifs in stripes, made with a black lacquer on the back ground of the clay's own color, these motifs consist of a chain of wolf teeth, stylized roses, zigzags and checkerboard carved areas. These skillfully crafted motifs resemble the patterns of fabrics imported from the Near East. The proto-geometric period takes place in Athens BC. With the depiction of intricate figurative scenes on painted ceramic works around 770 B.C a real revolution occurs. The composition skill and the tendency of expression, which will determine the foundations of the visual language, which is determinant in terms of developments in the figurative arts until today in the Greek and Roman worlds and in most of the Western world, emerges for the first time. The healing power of art. BC. VIII. Before the second quarter of the century, pottery vases also featured human figures, but they remained crushed and caught on the sides of the vases. Sometimes grazing deer and waterfowl were also ornamental elements. The motifs were diversified and reproduced in a mullion. During this period, figures were not included in rational abstract decorative compositions for a long time, and then the art of depiction found a place for itself. Main panel frames and sashes are applied in different places and moments according to the concreteness of the geometrical ornament system. Human and animal figures are also geometricized so that they can be harmoniously incorporated into the symmetrical shape of the gemometric motifs. Bodies take a triangular shape and limbs become thinner. It reveals the unique qualities and hidden power of the human and animal body. They depict horses on their hind legs as if they were about to start running and people walking. This functional characterization describes how these bodies move. Figurative scenes about burial and war in Late Geometric works consist of iconographic scenes. M: Ö: VIII. These themes attracted attention towards the end of the century. Figurative art was developed not by the ceramics artists' search for independent creativity, tired of the geometric ornamentation repertoire, but by the need to depict themselves of the art patrons who could be equated in all qualities with the aristocratic elite classes of the emerging polis. Emphasizes their own privileges, manners and social rules in funerals, graves and the preparation of grave goods; The performance of rituals and the glorification of the artési (virtue) of the dead are peculiar to the limited social group. A limited number of pottery and ceramic painters are ordered. The first figurative scenes are seen in monumental vases with a height of 1,5 meters, the pedestals of the vases are broken in order not to be used for earthly purposes, to put liquids offered in honor of the dead and to put rain water. Vases containing diluted wine for men mean like giving back the physique destroyed by death with their human-shaped lines, there are amphoras with handles on the neck, and abdominal handled amphoras are used in women's graves. 90 percent of the vases containing figurative scenes from the geometric period were produced in Attica. It can be attributed to the first vase painter known as the Dipylon Master (between 760-750 BC). We also know about his artistic personality. It takes its name from a 1.55 meter high amphora found in the necropolis near the 'double gate' (Dipylon) in Athens. This work has an elegant frieze with geometric ornaments and prothesis between the handles, the scene of the dead woman being displayed on her dead bed. There is also a smaller figure caressing the head of the deceased with his hands in the rhythm of the figures bringing the pain of other people their hands to their heads. Prothesis scenes are frequently encountered in Late figurative pottery. These scenes are uniform in composition. As far as men are concerned, their warriors are evident through weapons and a guard of honor. This is followed by bringing the deceased to the place where he will be cremated and buried (ekphora). In ceramic works belonging to the Late Geometric period, ekphora scenes are often used together with prothesis scenes in order to show the glory and 109 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 fame of the dead. Homer also gave this hero in his poems to funerals. Car corteges carrying armed men are frequently seen in ceramic works from the Late Geometric period. The shields, thought to be inspired by a prototype used in the Mycenaean period, are the basic element of the hoplités' weapons, and these shields belonging to the Dipylon Master were used in both land and sea battle scenes. It is preserved in New York today. Numerous Geometric period vases have been attempted to be interpreted by Homer. For example, the person pictured on the wine jug (oinokhoen), sitting on the upturned hull of the ship in the scene of the shipwreck, was thought to represent Odysseus, the only survivor of the ship that sank after eating the cows of the sun. (Odyseia XII. 403 ff). However, it is seen that not only the central figure, but also the other sailors remaining in the sea waves are in contact with the ship. The artist may be emphasizing that other sailors are alive. The work is located in Munich. Another example, in a crater in Thebes, a man on the way to a ship waiting for the oarsmen turns towards the woman he is holding by the wrist, as if forcing the woman to follow him. In interpreting this scene, it is thought of Paris and Helene, some have seen Hector and Andromache, Arianna with Theseus, or Medea with Lason. Stories told through images in geometric ceramic works present in normative features as well as their roles of self-portrayal and political goals linked to the interests of art patrons. ARCHITECTURE Peristasis, an element unique to Greece, is a formula originally created to meet the needs such as protecting weak walls made of unbaked clay from meteorological factors and supporting the roof. As Vitruvius said (De architectura (On Architecture) gives the sacred structure a magnificent and authoritative look. The gods open their homes to believers to rest, protected from bad weather. Found in Thermo and BC. VII. We can also give an example of the peripteros temple of Apollo, which is dated to the last quarter of the century. From the ritual-based ceremonies and sacrificial skeletons given, it is understood that it was used for a long time and was next to the house of a noble. In the Late Geometric period, vanity linked to social class and wealth will also include temples. The structures of the temples gloriously and assertively become centers of social competition. A LAND OF PAINTING: RED AND BLACK FIGURED ATTIKA VASOS By the end of VII century IV. the figurative pottery works made in Athens and Attica between the 20th century are the first artistic form of antiquity that is unique to the public. These works of a very high level of craftsmanship are rich sources that give us information about the customs and traditions of the Greek society. In the last quarter of the VII century BC, due to an economic and demographic crisis, monumental vases began to be reproduced. Attica ceramic painters adopt a new painting technique. In this technique called 'Black Figure', figures are drawn with black paint on the terracotta colored vases, and their details are painted with different colors of paint or scrapping technique. This technique, BC. VII. By the end of the century VI. A tremendous success is achieved with ceramic painters such as Nessos Painter, Gorgon Painter and Sophilos, who produced between the first quarter of the century. It is enriched with mythology epos, that is, epic themes. Ancient Greek art is the first and only nation's art among the nations of antiquity that placed man and anthropomorphic gods at the center of their artistic activity and made them the basis of their entire subconscious. This is because all of Greek art is based on bodily qualities. The body reflects not only physical qualities but also moral qualities. It transforms human potential into an effective tool. While the body is so important, it is not surprising that Greek art chose to depict it naked from the very beginning. According to the idealizing view of Winckelmann (1717-1768), for the Greeks, nudity is a means to transcend the accidental and render the human figure independent of time and space. In the Greeks 'kalos' is beautiful, but it is used for the naked body of a 'qualified' young male citizen who has prepared for athletics competitions or war through physical exercises. Here is the competitive mindset that the Swiss Jacop Burchardt described as Greek civilization. Women are depicted as clothed because of their roles of wife and mother, and they have been worked effectively with the wet fabric method by showing the lines. She is depicted dressed in goddesses. B.C. In the middle of the IV century, Praxiteles depicted the goddess naked for the first time with the statue of Aphrodite of Knidos. 110 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Sophilos, an Athenian pottery artist, painted very realistically, in his paintings on dinos (it is a very popular, convex-bottomed, large feast vase), the funeral plays held in honor of Patroclos (the book subject of the Iliad). Sophilos, who proudly signed his works, works with a more comprehensive and dignified style in depicting the parade of the gods and goddesses of Olympus in the theme of the marriage of Peleus and Thetis for two different reasons. At this stage of the production of black figure pottery, the creation of friezes on top of each other and the abundance of inscriptions are due to the value of Corinthian pottery in rich markets such as Etruria and Magna Graecia. Found in a tomb in Dolciano near Chiusi, Italy in 1844 BC. Dating back to 570s, the François vase is named after the archaeologist who found it. It is the prime example of the generation of the first Greek Attic vases exported to the West because it describes Greek mythology very well. It is magnificent in the variety of myths and is unmatched. Painter Kleitias and ceramicist Ergotimos signed this work twice. It has detailed figurative narration, more than 120 inscriptions explaining who each character is, and even objects are explained. The themes illustrated on the vase are as follows. Funeral games for Patroclos, the trap set by Achilles on Troilos, Hephaisttos's return to Olympos, the dance of the Athenian hero with the young girls rescued from Minotauros, Calydon's hunting the wild boar, the parade created by the gods in honor of the marriage of Peleus and Thetis. On the arms of the vase, the lifeless body of Achilles, the fruit of the B.C. VI. The oval amphoras produced in Attica towards the middle of the century and thought to belong to the Tyrrhenian region because of the traditions are important. They are specially produced to transport olive oil produced in Attica. Color was emphasized in the white and red-purple paintings over abundant black paint. Although its subjects are worldly, traditional styles include animal friezes, rich mythology and epic events. The craftsmen who produced them were proud of their knowledge of the alphabet, and these works included the alphabet like the François Vase, because these exported works were in demand with the elegant Greek alphabet. This form, which has endless studies in terms of morphology and decoration in Attica workshops, is a superior tool because of its pride in its production and the transfer of new style and iconography trends. Since they were expelled, they provided this cultural transfer at marriage, is carried on his back by his friend Aias, and the traditional animal frieze is placed on the lower belt of the vase. There is a struggle between the Pygmies and cranes depicted on its pedestal. Attica vase paintings BC. Developed between 560 and 530 with three great masters, Lydos, Amasis and Eksekias, who brought their pottery painting to the highest level. They created an unprecedented monumentality in the figures. The crater of Lydos, which is located in New York today, is 56 cm high, and the large figures of Dionysus and his entourage, Satir and Mainas, over 25 centimeters, resemble a painting. It is the great Dionysia feast initiated by Peisistratos (600-528 BC), which is the climax of the feast series held in honor of Dionysus in Athens and played an important role in the birth of the theater. Heracles is also the subject of the Attic painters iconographically. Heracles, deified by its virtues, is the role model of the ruling classes and Athens in the name of excellence. The virtues of Heracles are physical strength, courage, a beastman as well as a hunter of wild animals. In Eksekias, he paints the moments when the heroes pour out and the dramatic aspect prevails. In the Boulogne amphora, Aias leans on the ground to fix the sword will use to kill itself In the amphora preserved in Musei Vaticani, found in Vulci. Aias and Achilles are depicted as two men playing dice to spend time waiting for war or to distract them from the violence of the collision. In the famous lékythos of Amasis (a vase with a conical end for perfumed oils) he depicted women on a vertical loom. This work was a pioneer, later on, the world of women such as olive harvest and shoe repair work shop attracted attention, and the scene of getting water from the fountain was also frequently worked. Andokides Painter, a student of Eksekias, BC. Develops a new technique at the end of VI. The background of the vase will be covered with intense black paint, the figures will be painted with the orange color of the clay, the details of the figures will be made with diluted paint with a brush. With this new technique, more details could be added with colors. Other ceramic artists in Athens also worked with this technique. The black-figure technique, on the other hand, dates back to BC. It lasted until the middle of the V century. Panathenaia amphoras are produced to put olive oil, which is given as a prize to the winners of the Panathenaia games (games held with the police every four years from 566 BC). It was created with 111 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 unchanging standard ornaments. There are two Doric columns with two horazes and the inscription 'Athena Games Award', the figure of Athena Promakhos (warrior) representing the cult statue, on the other side a competition from games is depicted. Black figure technique is used. Between 520-500 BC, ceramic painters Euphronios, Euthymides and Phintias made an anatomical study of the human body with a new technique. Athletes portray the splendor, strength and flexibility of young bodies in their vases. These images reflect the importance given to athletics in Greek culture, which is considered the most noble form of education and a moral role. Anatomy of the naked body also increases research in mythological events. Euphronios now has a crater in the Louvre in Paris where he depicts the struggle between Heracles and Antaios and another in Italy. The body of the Lycian prince Sarpedion, who was killed as a result of his struggle with Patroklos, the son of Zeus and Laodamia in kratérde in Italy, is carried by Hypnos and Thanatos (sleep and death). The anatomy of the naked body shows the painter's ingenuity. A Greeek vase gathers all the classical harmony in it, it has a static harmony. It is not just a measured order, it is a living movement. Measure a nation‘s art and sensitivity with its ceramics. This is a sure footing. Ceramics is pure art. Greek vases strictly obey geometric laws (Read, s. 22-23). B.C. FIFTH CENTURY MASTERS KLEOPHRADES Painter and Berlin Painter are the greatest painters of the red figure style. They were dramatically affected by the years of conflict between Athens and the Persians. M. Ö. The artistic reconstruction projects of Athens, which was destroyed by the Persians in 480 BC, are constructive and dynamic. Vivenzio hydriası (water jug), masterpiece of Kleophrades Painter. B.C. VI The theme of the destruction of Troy, which has existed in Attica ceramic works since the century and depicted in the expression of the desperation of the Troian woman who witnessed the violence inflicted on Kassandra by Aias, and the courage of the Troian woman who protected it with a rolling pin. It is the subject of human compassion. The Berlin Painter has painted depictions of flamboyant figures in large vases. Herakles, holding the kantharo (two-cup wine jug) to be filled by the goddess on the one hand. The kantharo (two-cup wine jug) to be filled by the goddess on the one hand in the amphora in Basel, brings to mind the theme of the deification of Heracles. The Berlin painter breaks the existing tradition and deals with the heroes of mythological stories. Figurative arts in ceramic arts have been fruitful and continuous. Famous painters such as Polygnotos of Thasos and Mykonian of Athens decorate public buildings in Athens such as Theseion and Stoa Poikile with themes such as 'War with the Amazons' or 'Theseus' adventures. Niobid Painter also applies methods developed in the field of megalography of spatial depth and flexibility of figures. In the scene of the murder of Niobe's children by Apollo and Artemis. The A side and the B side, where Heracles could have descended under ground to take Theseus and his friend Peirithous so that they could fight alongside the Athenians in Marathon, the characters were studied with wavy lines that give different heights and depth.) B.C. The Great Trophy, named for the Penthesileia Painter, dated to the 440s, the scene where Achilles killed the Amazon queen includes psychological studies and the study of the characters of painting. The boundaries of the 'serious' bicolour of the red-figure style were surpassed, and the backgrounds painted white with a multicolored calcium hydroxide-based preparation were worked with a rich variety of colors. The scene in which Achilles kills the Amazon queen is also depicted by Achilles, who falls in love with her the moment she kills the woman, exhibits the dramaticness of the love-death union, the characters' gaze at each other and the entangled limbs. Thanks to the conquests of Alexander the Great in the 4th century BC, the Greak language and culture became the language of the ruling class in the eastern Mediternean and the so-called Near East. (Rhodes, s.21). B.C. During this period when the sorrows of the Peloponnesian War of 431-404 were experienced, a sophisticated and artificial style called 'Rich' developed, Phaon played lyre for Demonassa on Hydria belonging to the Meidias Painter, while Pothos with Himeros. (Aphrodite's car pulled by 'desire' and 'love regret' hangs in the air; in the same tomb similar to this vase, Adonis has left himself in the arms of Aphrodite and their identity is indicated by the elegant female personifications in the inscriptions). These female figures with jewelery in pure gold are dressed in slim and 'wet' folds, apparently Phidias inspired. What made Attica pottery the most extraordinary 'public' art of the classical era was that it was not bound by the rules of formal art and was extremely simple, it can be at home for everyone and used in cults and holidays. The political and cultural changes of Greek society 112 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 were shaped by dreams and values. Thanks to its prevalence, dreams and values have attracted attention both in the Greek world and in the non-Hellenic world, especially in Etruria. Attic craft uses clay, the only substance it has. Amarousion mine (It was mined 12 km from Athens. It has a high iron content, it has the ability to take shape, it turns red and intense black when it is cooked) MATURITY PERIOD (480 BC) is a maturity period that lasts thirty years. When Athens was destroyed by the Persians and especially the bronze sculpture group named Tirana Murderers was taken down from the Acropolis, Kritios and Nesiotes were assigned to rebuild it. Copies of this work were later made in Rome. This period lasted until Pericles (495-429 BC) projects to rebuild the Acropolis of Athens. This transformation is the most lively and fruitful period in Greek history, the part of Greek art that has been described as 'serious'. Serious artistic definition is based on simplicity in sculpture, painting and architecture. It is artistic and cultural maturity that increases its originality. The Greeks, who protected their freedom, lifestyle and culture, won the victory over the Persians; it sees them as victories over barbarism, intemperance and chaos. In this process, they develop an original expression in art. In the Archaic period, the art elements peculiar to the Near East, which they associate with the East, such as vanity, ornamentation and passion for multicolor, are suddenly abandoned and rejected. Democracy, equality among citizens is established. This period art; decorative elements disappear, clothing folds and hair styles are simplified, instead of the thin and flowing chiton seen in the sculptures of women in the archaic age, the 'solemn' style of Doric-style wool peplosa is used. The statue known as Aphrodite Sosandra (savior of humans) and Aspasia are examples. The statue, with a deep diagonal and vertical folded cape, a serious face and bright surfaces, expresses inner depth, proportionality and balance. Polygnotos is known as the 'character painter'. B.C. It was built between 469-467 for the people of Cnidus in their leschés (meeting place) in Delphoi. In the paintings depicting the looting of Troy and the descent of Odysseus to the underworld; the figures are depicted at different heights, there is depth of space, the interiority of the figures and their personality movements are described with their gaze and poses. Sculptural art also leaves the rigid canon that envisions being depicted from the façade. Humans and gods move freely. He expresses his ethos (characters) with his postures and actions. In the statue of Zeus-Poseidon, a strong athletic naked figure extended his arm back to shoot an arrow, balanced, calm and determined. It awakens respect and fear, describes God very well. Formal features of Greek sculpture; It did not differ in the regional schools named (Peloponnessos, Attica, Ion). Advances in anatomy and surgery have provided more information about the body. There have been advances in the bronze technique, larger sculptures are made using the 'lost candle' technique. Soldering methods are developed, the limbs are made separately and placed freely in the space. It spread from Ionia to Magna Graecia thanks to the fact that the sports competitions in Olympia, which the Greeks are proud of, belong to the common culture, which means very strong identity unity. This period is also called Zeitstil (period style) and has Panhellenic feature. The competitive spirit, desire for glory and a sense of courage were influential in the importance of the Olympic games. Olympia becomes the capital of Greek culture during this period. The number of statues representing athletes is increasing at Olympia and Delphoi. Auriga statue at Delphoi BC. It was built in honor of the victory in chariot racing at the Delphoi games in 478-474. The athlete is depicted on a post-race victory lap, in his serious and business-focused facial expression, and in humility and self-control. It is not known exactly who made the statue, and Pythagoras, who was from Samos, is mentioned. He is one of the best bronze sculptors, sculpted countless athletes and gods. Pythagoras is known for his research in the field of symmetria, the importance given to details, his meticulousness in obeying proportions, and his contributions to the art of sculpture were in this way. These features are considered essential features that are still valid today. The statue of Kritos and Nesiotes' Tirana Murderers, one of whose faces are not highly qualified, one is young and the other is mature, falls into the field of typological portrait. The portrait of Miltiades (550-489 BC), which was depicted in the Stoa poker of Athens, in the Marathon struggle, in the armed and encouraging the soldiers, was also typological and is thought to have been started by Mykonon and completed by Panainos. But a work of the serious style known as Themistocles (528-462 BC) is certainly individual in physical lines. The temple of Zeus sculpted decorations is the greatest work of solemn style, found in Olympia. The Zeus temple was built by Libon. The temple is in Doric order, with its strong compact 113 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 structure, architectural tendencies of solemn style, and dignified, grandiose simplicity. The importance of selecting and describing the most loaded moment of the myth, the point where the tension is highest, just before the drama breaks out, has been demonstrated. The artist, who created the iconographic content of Olympia, chooses to depict the moment just before the race, and the character of this drama is in a tense anticipation for its audience. The Zeus figure is at the center of these characters. The old seer figure who predicted what would happen is depicted to hold his breath. The Alpheios river is also personified, expressing the indifference of nature to the tragic fate of people. The theme here is that the king of Pisa challenges the suitors of Hippodamia, his daughter, and the chariot races between Olympia and Corinth, the defeat is killed. However, the king is defeated because the Pelops rider Myrtilos sabotages the wheels of the royal chariot. On the other pediment, Apollo dominates the violent clash between ugly Centaurs; figures express aggression, fear, diligence and pain. With the struggle between the highest and the simplest barbarism depicted on the western pediment, the superiority of civilized life over barbarism is explained. HALIKARNASSOS MOSQUE How does the Parthenon BC. If it is the symbol of art in the 5th century BC, IV. The greatest architectural and artistic work of the century art is the Halicarnossos Mausoleum, the mausoleum belongs to Maausolos. It is one of the seven wonders of antiquity, it was created at the beginning of Hellenism. It is located in the city of Halicarnassos, the change it brings to the urban structure consists of terraces descending towards the sea and is at the center of the magnificent order. It is a comprehensive urban project. The move from the capital Milas to Halikarnossos constitutes an act of unification involving six small communities. Maausolos is the founder of the city, the mausoleum in the center of the city is visible from afar, aiming to describe the profile of the city and the dynasty. Hellenistic sculpture There are two different cases of Hellenistic sculpture. The first is the search for novelty, which can express the constant reality, and the other is the existing course of Classical Greek art that gives importance to the past. Alexander the Great BC. He died in 323. Thanks to his conquests, Greek culture flourished. The mentality of the Greek people has changed. Artistic production also contributes to this change with depictions in different forms. Lysippos, one of the most important masters, developed types of sculpture, from kings to portraits of thinkers, from allegories to dynamic and complex sculpture groups, in accordance with the cultural change. The students followed the new trends he initiated. Lysippos creates the iconography of Alexander the Great as a young, enthusiastic, willed conqueror and becomes the reference for Hellenistic king portraits. He interpreted the philosopher's portraits of Lysippos, beginning with the portraits of Socrates and Aristotle. In addition, Polyeuktos BC. The sculptural-portrait of Demosthenes in 280 was also very successful, the face of the great commentator was sharp and closed. During this period, the artists were active, they cooperated due to big projects such as the great altar of Pergamon and made the art language homogeneous and international. Artistic schools have been formed. Palace artist Leokhares depicted the youth of Apollo in the statue of Belvedere Apollon, an icon of classical art, as Praxiteles did in Apollon Sauroktonons. Pleased with the presence of the audience, her chic style curly hair turns her head up. Veins and nerves in the body never cause discomfort. B.C. IV. It is attributed to Leokhares in Demeter of Knidos, one of the most elegant works of century Greek sculptor. Cniduslu Demeter is depicted with thin and graceful lines, hollow and small eyes, and half-open lips. Structures such as the Barberini Fauna and Belvedere Trunk are found on their rock-shaped pedestals. In the Hellenistic period, the sculptures were positioned in the natural environment to be impressive. During the Rococo era, they created replicas of original Hellenistic period sculptures. The reason for the adoption of this tradition is Dionysus and Aphrodite, representing the desire for happiness, love, pleasurable and self-fulfilled private life. Hellenistic kings identified with Dionysos. The richness and diversity of the projects, the abundance of resources and the extraordinary level of artistic inter-personal cooperation are the factors that give life to this unusual situation, which is rare in the cultural history of humanity. The structures that Pericles built in the Acropolis, especially the Parthenon, will be scattered to different places from here and are the summit of Classical art, which is a source of imagination. Pericles focuses on the project of transforming Athens, surrounded by 114 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 consultants, into its cultural capital; He describes Athens as the 'School of Hellas' in a ceremony honoring the martyrs of the first year of the Peloponnesian. Phidias' Parthenos; It is a very large goddess statue. It is on the wooden pier, it was made of gold and ivory leaf. Including its 12-meter-high pedestal. More than a ton of gold has been used. Because the statue is large in size, it requires a naos (sacred chamber), in which changes are made to the canonical forms of the Doric order in the plan and section of the Parthenon. The fact that the column series surrounding the statue on three sides in the naos is in the form of the Greek letter Pi, aims to glorify the statue. Two windows open to allow the rising sun rays to enter. A bathtub filled with water is placed in front of the Athena statue so that the extremely dry climate of Attica does not damage the wooden skeleton and ivory coatings. The goddess has a Doric style peplos on her head, and a helmet in the form of a winged horse on the side and a sphinx in the middle. Small copies of this statue were among the souvenirs bought by Roman visitors. In the right hand of the statue, he carries a natural size winged Nike. Its left hand rests on the edge of the shield with Erikhthonios the serpent associated with the cult of the goddess. Phidias makes rich reliefs with iconographic themes on the pedestal of the statue. Later, independent copies of the statue were also made. The inner surface of the shield belonging to the statue of Athena Parthenos contains relief ornaments depicting another mythological struggle, which is the symbol of the struggle between good and evil, order chaos, moderation and exaggeration, the struggle between the gods and the rebellious giants. On the pedestal of the statue, the creation of Pandora that took place in Olympos in the presence of the gods is described. In Athena, intelligence bestows meth and teaches female professions, the nativity scene of Athena is depicted on the east pediment of the pedestal. Although the Parthenon is seen as the archetype of the Greek temple today, it is not a true temple. The Parthenon is like a valuable holding place for the protection of the goddess statue. It has a structure that aims to glorify Athena's glory, ideals and culture forever. The Patheon's pediments contain some of the most famous plastic works of Classical art; these are the sculptural group consisting of Dione, Hestia and Aphrodite highlighted by 'wet fabric'. There is also a 'horse archetype'. There is also a statue of Zeus and Hera, one of the seven wonders of the world, built by Phidias for the temple of Olympia War. Palace artist Leokhares depicted the youth of Apollo in the statue of Belvedere Apollon, an icon of classical art, as Praxiteles did in Apollon Sauroktonons. Pleased with the presence of the audience, her chic style curly hair turns her head up. Veins and nerves in the body never cause discomfort. B.C. IV. It is attributed to Leokhares in Demeter of Knidos, one of the most elegant works of century Greek sculptor. Cniduslu Demeter is depicted with thin and graceful lines, hollow and small eyes, and half-open lips. Structures such as the Barberini Fauna and Belvedere Trunk are found on their rock-shaped pedestals. In the Hellenistic period, the sculptures were positioned in the natural environment to be impressive. During the Rococo era, they created replicas of original Hellenistic period sculptures. The reason for the adoption of this tradition is Dionysus and Aphrodite, representing the desire for happiness, love, pleasurable and self-fulfilled private life. Hellenistic kings identified with Dionysos. The richness, diversity of the projects, the abundance of resources and the extraordinary level of artistic inter-personal cooperation are the factors that give life to this unusual situation, which is rare in the cultural history of humanity. The structures that Pericles built in the Acropolis, especially the Parthenon, will be scattered to different places from here and are the summit of Classical art, which is a source of imagination. Pericles focuses on the project of transforming Athens, surrounded by consultants, into its cultural capital; He describes Athens as the 'School of Hellas' in a ceremony honoring the martyrs of the first year of the Peloponnesian War. Phidias' Parthenos; It is a very large goddess statue. It is on the wooden pier, it was made of gold and ivory leaf. Including its 12-meter-high pedestal. More than a ton of gold has been used. Because the statue is large in size, it requires a naos (sacred chamber), in which changes are made to the canonical forms of the Doric order in the plan and section of the Parthenon. The fact that the column series surrounding the statue on three sides in the naos is in the form of the Greek letter Pi, aims to glorify the statue. Two windows open to allow the rising sun rays to enter. A bathtub filled with water is placed in front of the Athena statue so that the extremely dry climate of Attica does not damage the wooden skeleton and ivory coatings. The goddess has a Doric style peplos on her head, and a helmet in the form of a winged horse on the side and a sphinx in the middle. Small copies of this statue were among the souvenirs bought by Roman visitors. 115 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 In the right hand of the statue, he carries a natural size winged Nike. Its left hand rests on the edge of the shield with Erikhthonios the serpent associated with the cult of the goddess. Phidias makes rich reliefs with iconographic themes on the pedestal of the statue. Later, independent copies of the statue were also made. The inner surface of the shield belonging to the statue of Athena Parthenos contains relief ornaments depicting another mythological struggle, which is the symbol of the struggle between good and evil, order chaos, moderation and exaggeration, the struggle between the gods and the rebellious giants. On the pedestal of the statue, the creation of Pandora that took place in Olympos in the presence of the gods is described. In Athena, intelligence bestows meth and teaches female professions, the nativity scene of Athena is depicted on the east pediment of the pedestal. Although the Parthenon is seen as the archetype of the Greek temple today, it is not a true temple. The Parthenon is like a valuable holding place for the protection of the goddess statue. It has a structure that aims to glorify Athena's glory, ideals and culture forever. The Patheon's pediments contain some of the most famous plastic works of Classical art; these are the sculptural group consisting of Dione, Hestia and Aphrodite highlighted by 'wet fabric'. There is also a 'horse archetype'. There is also a statue of Zeus and Hera, one of the seven wonders of the world, built by Phidias for the temple of Olympia. Polykleitos and the Criterion of Beauty; The Greeks are everything that is beautiful to the Greeks, has order, proportion, symmetry and harmony. The first person to determine the formula for this was the sculptor Polykleitos. He determined the formula for creating the perfect human figure through sculpture, called the Canon. He advocated the principles he set for building the beautiful. Polykleitos applies the principles he explained to realize the perfect human figure by making sculptures. Makes the workshop training with written text. The written text has not survived. It is possible to fictionalize thanks to citations. The text is that the beautiful is born out of symmetria, that is, the comparison of different fields (syn-meter). In the field of art, comparability is a proportional relationship between two or more measures. In other words, it is related to the proportionality of all parts among themselves. It is not based on a number and calculated as how many times that number is contained in the measured thing. According to Polykleitos, perfection (to eu) is achieved 'through many numbers'. The name to eu in the form of noble adverb, literally means 'goodness' and 'beauty', we already know that, according to the Greeks, there are tight ties between what is good and what is beautiful. Praxiteles and the Beautiful Style: Praxiteles Greek Art of the Classical ideal BC. IV. He revealed deep humanization, divine images in his sensuality and graceful poses. Praxiteles depicted friendly and delicate figures, and his art style is called magnificent and noble. The favorite Greek sculptor of the Romans is Praxiteles. Authors of antiquity talk a lot about this sculptor. Over time, many copies of his sculptures are made. Authors of antiquity glorify Praxiteles' success in transferring their moods to marble and the naturalness of his works. Praxiteles, Aphrodite of Cnidus, depicts small breasts, rounded shoulders, flat stomach, and long legs. Aphrodite, which belongs to the Hellenistic age artists, has different forms, naked and clothed. Aphrodite's hair is bulk and her lips are slightly open. The figure of Aphrodite is the interpretation of the process of deep humanization of the Athenian sculptor, this humanization, BC. IV. It involves the search for an individual relationship between man and god, separated from the piety of the police and temples, undergoing change in the 21st century. Praksitelles' Aphodite theme bathed in Knidia is created with different interpretations throughout the hellenistic period. According to Pliny, the Crouched Aphodite belongs to Doidalsas, created for Nikomedes of Bithynia (king 279-260 BC). Knidia is depicted in a moment of intimacy, preparing for a bath like an ordinary woman. The statue is admired not by the expression of a divine being, but by its aesthetic beauty. Another iconographic type of Aphrodite belongs to Praxiteles' youth period. It is Venus of Arles in the Roman theater in Arles, France in 1651. Only her hips are covered with a cloak, her facial features are affectionate. Praxiteles exhibits specific features. Lypsippos is the portrait of the Macedonian prince Alexander whose portraits glorify individuality in the portrait art of the classical era, and portraits no longer focus on the role of the individual in society. The position in the police, Lypsippos focuses on the character of the person he portrays, because the virtues, charisma and ambition of a prince in ruling an empire is effective. It depicts Alexander with his warrior spear in the bronze statue found in Ephesus. In the statue in Alexandria and preserved in the Louvre today, the Macedonian prince Alexander is expressed with his enthusiastic face, lion's mane hair, hollow and close eyes. In addition to contributing to the development of Hellenistic art, it reflected the great change Greek society went through in the transition from the Classical to the Hellenistic world. He became the first modern artist by extensively 116 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 renewing traditional genres and themes. Famous masterpieces such as the Barberini Fauna and the Belvedere Trunk have rock-shaped pedestals. In the Hellenistic period, great importance was given to the positioning of the sculptures in their natural environment in order to be impressive. In the Hellenistic era, the island of Rhodes had economic relief with the development of trade activities. Erected in the harbor of Mandraki and exceeding 31 meters in height, the statue of Helios (The Sun) is among the seven wonders of the world in Antiquity. It is built by Lindos Khares and manufactured in Rhodes foundries. B.C. It collapsed in 228 by an earthquake. In the process of restructuring after the earthquake, an art that can be called 'spatial' develops. The Farnese Bull is an example of this trend. The subject of the statue is one of the themes centered on the concepts of crime, hybris and punishment. Thebes queen Dirke, who torments Antiope, is punished by Antiope's children. As a punishment, he is tied to the bull's horn from his hair Sculptors Apollonios and Tauriskos who worked in Rhodes made this statue. The statue of Nike of the Rhodesian sculptor Pyhokritos was built by the Rhodes navy in BC. II. It was built for the victory over Antiochus. The transparent, 'wet' dress of the goddess of victory clung to her body by a strong wind. (Inspired by Nike by Mendeli Paionios at Olympia). In the Hellenistic period, it is also thought that there was another school that made copies of the works made in the schools of Rhodes and Pergamon for the orders of the Romans. B.C. II and II. The best example of the realistic tendencies that emerged in Hellenistic art for centuries and emphasized the depiction of marginal human types is the statue representing the disciple who is thought to attend the Dionysian festival of Lagynophoria in Alexandria. The wear of the bodies of the elderly people belonging to the lowest social classes and the signs of hard work, as in the half-naked 'Old Fisherman', are also portrayed. Hellenistic Baroque expresses gigantic passions such as anger and pain, while expressing human emotions in their liberating smiles, a Hellenistic 'invention'. Conclusion Even early in their history, Greeks feel that "the world has a beautiful order." The beauty we perceive with our senses has a fluid harmony with the Pyhagoras (BC). 570-520) philosophically formulates, Pythagoras establishing that the essence of reality lies in numbers is the ontological basis of beauty, beauty is caused by order, the correct proportion between order parts, the proportion is measured, to an extent by numbers. The universe is designed between proper proportions, while the human body reflects awe-inspiring synthesis. The Greeks believed that "man is the measure of everything." It is the artist's job to embody the beauty in the human figure. The theory that beauty comes from proportion between parts is accepted in antiquity XIX. It continues into the century, also called the Great Theory of European aesthetics. In addition to contributing to the development of hellenistic art, it reflected the great change Greek society has experienced in the transition from the Classical world to the Hellenistic world. References Bonnard, A. (2004). Antik Yunan Uygarlığı, (Çev. Kurtgözü K.), İstanbul, Evrensel Eco, U. (2012). Antik Yunan, (Çev. Basmacı L. T.), İstanbul, Alfa Basım Yayın Dağıtım San. Tic. Lmt. Şti. Read, H. (2017). Sanatın Anlamı, (Çev. Asgari N.), İstanbul Hayalperest Yayınları. Rhodes, P. J. (2019). Antik Yunanın Kısa Tarihi, (Çev. Atay C.), İstanbul, İletişim yayınları. İpşiroğlu, N. and İpşiroğlu M. (2017). Oluşum Sürecinde Sanatın Tarihi, İstanbul, Hayalperest Yayınları Tekin, O. (2019). Eski Yunan ve Roma Tarihine Giriş, İstanbul, İletişim yayınları. https://kvmgm.ktb.gov.tr/ Date of Access 10 April 2021 https://www.louvre.fr/en Date of Access 10 Nisan. 2021 https://izmir.ktb.gov.tr Date of Access 10 Nisan. 2021 https://www.museoarcheologiconapoli.it Date of Access 10 Nisan. 2021 https://www.britishmuseum.org/collection/galleries, Date of Access 10 Nisan. 2021 117 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 https://www.namuseum.gr/ Date of Access 10 Nisan 2021 https://m.museivaticani.va/content/museivaticani Date of access 10 Nisan 2021 https://www.kulturportali.gov.tr/turkiye/izmir/gezilecekyer/zmir-arkeoloji-muzesi / Date of access 10 Nisan 2021 https://web.archive.org/web/20070622091348/http://odysseus.culture.gr/h/1/eh151.jsp?obj_id=3249 / Date of access 10 Nisan 2021 118 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Pre-Ritual Behavior Models as the Creation Source of the Art of Theater Fatma Kandemir Şahin Selçuk University, fundakandemir@gmail.com Throughout history, the social and cultural needs of humanity have shaped the definition, purpose and function of art. The process of the 20 th and 21st centuries - when technological developments gained momentum and communication and interaction went digital - created the need for us as social creatures to return to art's essence by being with other people. This natural human need has made the purpose of art a journey back to the essence. From this understanding of art, we can infer a focus on what the artistic creation process is rather than the redefining of art. In this framework, artistic creation has been defined as an act of reproducing reality, where the artist aims to select realities that, while not necessarily artistic, allows the artist to recreate those realities in a system other than the one in which they actually exist. At this point, artists began examining theories on their origins, which led the function of art to focus on the healing power of art. The effort to return to the essence of art has been in the form of returning to the ritual origin theory in theater art, as in other arts. Leading theater practitioners such as Antonin Artaud, Jerzy Grotowski, Peter Brook, and Eugine Barba have focused on the ritual resources of the East, the templeceremonial theater experience, and intercultural ritual studies. The focus of the artistic creation in these works was the actor and the audience, the two indispensable elements of theater. The most important function of the theater has become the interaction between the audience and the actor, who have come together in ceremonial structures, and the mystical power to come to the fore with the purifying effect of this communication, and therefore the return of the human being to its essence. At this point, the approach that rituals are an upper form of symbolic human behavior that has become a play is noteworthy. Because this mentality bases the effort of returning to the essence of art and the mission of having healing power on human behaviors in the pre-ritual process. The aim of this study is to analyze theater's quest to return to the essence with pre-ritual noneveryday behaviors. In this framework, reflex, simile, imitative and symbolic behavioral models shaped by human needs will be discussed with an anthropological perspective. As a pre-ritual narration, the resulting play behavior and play form will be evaluated in terms of the function of being a resource and healing power to the theater. Keywords: Symbolic Behavior, Play, Ritualistic Behavior, Ritual Introduction The scientific developments, technological accumulation and economic growth occurred in the 19th century have put the societies into a process of institutional and cultural change. In this process when globalization started, the industrial society started to transform into an information society and globalization gained speed in the 20th and 21st centuries thanks to the developing communication technology (Saltık, 1995, p.21). Globalization, that is, the idea of seeing the world as a single place, involves ideas that sound good at the first step. For instance; some of these are integrating the societies by gathering up, balancing universal prosperity and justice, providing intercultural interaction, eliminating language-religion-race inequality. However, these ideas, which turned into action after a while, caused the world to transform in to an open and free market in economic terms, international migration, environmental pollution caused by the degradation of nature and diseases (Keyman,1997, p.3). In a world, where globalization has turned into a global catastrophe, man has also taken his share and moved away from the beauties of his essence. In this period, when the effort of 119 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 man returning to his essence and nature began, the search for returning to the essence began in art that tries to find response to the human needs. The main purpose of these searches, which also find a response in the art of theatre, is to eliminate the sharp line that separates play and life and to combine the theatre with life. Because such a combination will enable people to adapt to their instincts, to integrate with nature and to overcome social alienation (Şener, 2012, p. 310). These attempts, which can also be defined as an effort to return to the essence of theatre, involves return to the theory of ritual origin. Leading theatre practitioners such as Antonin Artaud, Jerzy Grotowski, Peter Brook, and Eugine Barba have turned their orientation to the ritual resources of the East, the worship-ceremonial theatre experience, and intercultural ritual studies. The two essential elements of the theatre which are the actor and the audience took place at the center of these studies. The interaction and communication of the audience and the actor who come together in ceremonial structures and the activation of mystical power with the purifying effect of this communication, and therefore, the return of the human being to its essence has become the most important function of the theatre (Candan, 2003, pp.131-132). At this point, the approach that rituals are a dramatized upper form of symbolic human behavior is remarkable. Because this understanding links the effort to return to the essence of art and its healing mission to human behavior in the pre-ritual process. The purpose of this study is to analyze the quest of the theatre to return to the essence in pre-ritual non-casual behaviors. In this framework, reflexive, representational, imitative and symbolic behavioral models shaped by human needs will be discussed with an anthropological approach. The play behavior and play form that emerged as pre-ritual expression will be evaluated in terms of the function of being a resource and a healing power to the theatre. The Motivator of Human Behavior: Needs Floyd Henry Allport considers the behavior resulting from physiological needs as an unconscious reflex. In behavior, an action is performed in order to meet a stimulus originating from a physiological need, the stimulus received by the sensory organs as a result of this action is carried to the brain by the nerve cells, the brain responds to this stimulus and this reaction occurs thanks to the reflex arc. For example, the senses of sight, hearing, smell, touch transmit outside cold, heat, and pain, and the stimuli here cause their responses (Allport, 2003b, p.31). For example, in Figure 1, the reflexive behavior model created by physiological needs is discussed. Figure 1. Allport, 2003b, p.31 Social behavior includes stimuli and reactions that arise between the individual and his social environment, which means stimulation and reactions between the individual and other people. Unlike our reactions to non-social objects such as objects, minerals, plants, our reactions to the movements and gestures of people around us can be a sample of this behavior. For example, the need for friendship is a social need and creates a warning for us, and the friendly approach we take towards the other person in order to meet the need for friendship is a form of social behavior (Allport, 2003a, p.11-14). For example, in Figure 2, the behavioral model arising from physiological and social needs is discussed. Figure 2. Allport, 2003a, p.11 120 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Although both behavioral models discussed in the tables seem to address the behavioral mechanism of modern man, these models also show the behavioral stages in the evolutionary process of the man. In addition, analyzing these behaviors helps us to understand how artistic behavior emerges. In this context, the changing needs of the man in the evolutionary process have led to the emergence of four basic behavior styles. These are the reflexive and representational behavior model in which biological needs are met, imitative and symbolic behavior model in which physiological and social needs are met. However, the symbolic behavior model constitutes the most important stage in the study under consideration in terms of being a source of artistic creation. Because man started to create artistic forms together with symbolic and imaginary thinking. These forms constitute the essence of artistic creation, and this essence constitutes the healer source in art. Human Behavior Models in the Process of Biological and Cultural Evolution Reflexive Behavior In this phase, which is also known as the old wilderness period, the main thing was to provide biological competence in order to exist in nature. In this period, which is seen as the beginning of humanity, man has gained the ability of three-dimensional vision. His sense organs have developed, he has begun to walk upright, and his hands are sufficiently developed to change the shape of objects. The hand-eye coordination has developed, a cortex with a strong memory region and the ability to process symbols has emerged in the man. Thus, the audio symbol system was developed and this provided the basic functions of speech and hearing organs (Şenel, 2009, p. 110). As can be understood from Table 1, in this period, man is in the most primitive stage of behavior. In this stage, where physiological needs are at the forefront, the behavior and behavior stage of the man is also at the level of sensory reflex. Table 1. "Reflexive behavior" exhibited by human within the framework of "need-stimulus-purpose" (Şahin, 2019, p.36) Behavior Stage Need: Physiological Stimulus: Body / nature Purpose: To meet basic physiological needs Behavior Pattern: At the sensory reflex level Behavior Stage: At the sensory reflex level Representational Behavior The human mind gained the ability to "perceive" and "dream" with the beginning of the creation of tools, and this caused the mind to pass to the "passive mind" dimension. Later, human turned imagination into concrete and passed into the "active mind" dimension. In the active mind period, man started to produce the same thing by starting from its form. This way of thinking, defined 121 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 as "Representational", later turned into a conscious behavior model in which people establish a causeeffect relationship between events over time. At this stage, the survival of the man in nature is a matter of question. Trying to exist in nature by resembling nature appears as a form of representational behavior. The first form of communication that man establishes with nature is seen at this stage. For example, man started to make the same sounds he heard in nature, to make the same materials such as bones and sharp stones found in nature in order to find food and hunt (Şenel, 2001, p.96-100). As seen in Table 2, man exhibit behaviors in order to meet his basic needs in this period as well, but this behavior goes beyond reflexive behavior and evolves into a representational stage. Table 2. The "representational behavior" put forward by the human within the framework of "need-stimulus-purpose" (Şahin, 2019, p.38) Behavior Stage Need: Physiological Stimulus: Nature / Body Purpose: To meet basic physiological needs Behavior Style: Representational behavior The Behavior Stage: At the representational level Imitative Behavior The involvement of other 'man' in the relationship of man with the 'nature' has revealed cultural needs, which brought along the organizational system and rules (hunting rules) such as division of labor (woman being the gatherer and man the hunter). At this point, unlike the previous stage, the behaviors of the human are directed not only to nature but to other people. This communication based on signaling and imitative behavior has revealed itself especially in imitation of the members of the herd each other, the adults of the children, the old generations of the new generations, and the exact copying of the old tools in tools making. The imitative thinking emerged as thinking of the concrete and the imitation of the concrete, where it could not be possible to describe the abstract. Explanation of the unknown with the help of the known, the abstract with the help of the concrete, led people to develop symbolic thinking later on (Tanilli, 1994, p.16-18; Şenel, 2001, p.9698; Childe, 2004, p.43; Şenel, 2004, p. 16-26). At this stage, where nature is taken as a model in terms of human behavior, it is possible to meet the physiological and cultural needs of the human as in Table 3. The most important behavior in meeting these needs is imitative behavior. Table 3. "Imitative behavior" exhibited by the human within the framework of "need-stimuluspurpose" (Şahin, 2019, p.43) Behavior Stage Need: Physiological and Social Stimulus: Nature / human Purpose: To satisfy basic physiological and social Needs Behavior Style: Imitative behavior Behavior Stage: At the imitative level 122 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Symbolic Behavior When the primitive community order was in its era of development, man reached the ability to more or less describe the external features of objects and natural phenomena. However, he has not yet understood the deep meaning of objects and events, their interconnection, and mutual influence. For this reason, man had to take the nature into consideration while working and started to observe nature. However, insufficient knowledge of the man about the nature led him to the idea that nature is governed by supernatural forces (Tanilli, 1994, p.25). The thoughts put forward by the man to turn natural events in his favor led to the emergence of 'magical thinking' and 'symbolic behavior' after a while (Şenel, 2001, p.99). The form of behavior exhibited by the man in his struggle with supernatural forces is as in Table 4. Table 4. "Symbolic behavior" put forward by the human within the framework of "needstimulus-purpose" (Şahin, 2019, p. 46) Behavior Stage Need: Physiological and Social Stimulus: Supernatural forces Purpose: To direct natural events Behavior Pattern: Symbolic level Stage of Behavior: At the symbolic level A spell casted to remove danger or a ceremony performed to adapt to the events in nature caused the man to move away from his fears and feel himself safe. After a while, such spell and ceremonies became established among people and transformed in to rooted believes, which brought standardized behavior patterns and finally symbolic behavior (Malinowski, 1992, p.25; Childe, 2004, p.76). In magical ceremonies where imitative behavior is used, explaining the abstract with the concrete help has developed the symbolic thought. Thus, something has been used to mean other than itself and has gained a symbolic meaning. This has led to the development of symbolic behaviors of people in changing their environment and directing events (Şenel, 2001, p.98-99). Symbolic behaviors that emerge with magical thinking, at this point, constitute the basic source of artistic creation. In other words, reproducing the meaning actually reveals the imitation process in art. From Symbolic Behavior to Ritualistic and Playful Behavior Symbolic behaviors that emerged with symbolic thought transformed into higher forms in the manner of ritualistic and playful behavior according to some researchers. However, the view of many researchers is that rituals (ritualistic behaviors) are an upper form of play (playful behaviors) (Huizinga, 1995, p.33-34). According to the philosophers who brought an explanation to the concept of play on an ontological level, existence of the man in the world is a play. All struggles to sustain his existence in a life with a definite end also make up the rules of the play. Limited time, space and other people also constitute the basic elements of the play (Fink, 2010, p.70-71). According to the thinkers who evaluate the subject in terms of philosophy of art, play constitutes source to the emergence of art and is preserved in the works of art with the sense of pleasure it carries in essence (Gadamer, 2005, p.32-35). The historian Johan Huizinga was the person who brought the definition of the man of player (homo ludens) to the literature. According to him, play is older than culture. In this period, play is the first activity that primitive people used to learn life and nature, and this activity has motivational sides for pleasure and entertainment (Huizinga, 1995, p.17-19). Play creates other upper forms such as rituals, worship and customs after the primitive period. In this context, rituals, prayers, and customs are activities that stem from play, but ceased to plays (Nutku, 1997, p.27). The idea that the playful features of the play continue in art is also finds place in Huizinga. According to him, the play's feature of being a play is preserved in art, which is an upper form of the play, but this feature stands out in performing arts rather than plastic arts (Huizinga, 1995, p. 213-215). Theatre which is among the play 123 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 forms of art, is the branch of art that has this playful feature the most. However, the theatre needs to regain its play feature in the play and to remember the pleasure of the play it will give to its audience. In this way, it will be possible for the man who is overwhelmed by the daily life difficulties to recover again through art, to catch the childishness inside, that is to return to his essence. Play and Features According to Huizinga, play is voluntary activity or occupation executed within certain fixed limits of time and place, according to rules freely accepted but absolutely binding, having its aim in itself and accompanied by a feeling of tension, joy, and the consciousness that it is 'different' from ordinary life ' (Huizinga, 1995, p.48). This definition made by Huizinga shows a great similarity with the definition of the theatre that constitutes the artistic upper form of the play. Aristotle, from whom we learned the first information about the art of theatre, defined tragedy (theatre) as follows: ―Tragedy is an imitation of an action that is morally dignified, complete, and has a certain magnitude. The task of tragedy is to clean the soul from passions with the feelings of pity and fear it awakens (Aristotle, 2002, p. 22). In both definitions, there is an action situation that occurs within certain rules and boundaries, but the result obtained by the participants from this action is completely different. While the participants enjoy their situation and feel happy in the act of playing plays, what is essential in tragedy is that the participants, namely the audience, take lessons with pity and fear. Although participation in the play and theatre is based on the consent of the person, the play only serves pleasure and entertainment, the theatre imposes a conscientious responsibility, that is, a duty. This causes the pleasing, relaxing and entertaining sides of the theatre to be pushed to the background. In this context, when we look at the basic features of the play, it will be understood more clearly why the theatre, which is a pre-ritual form rather than ritual, can take as a source for itself on its journey back to essence. Play: 1- The play first of all emerges as an optional voluntary action, it is not possible to talk about a forced play, 2- The play is a free action. The play is different from real life, daily life. It has its own rules and exists as a break in life, a rest, an ornament of daily life. 3- The play is separated from daily life in terms of space and time. The play starts and ends in a certain time. It focuses on an outcome, it is continuous and repeatable like tradition. 4- Play causes the individual to liberate, release his excess energy, develop his imagination power, prepare for the future and, most importantly, enjoy the situation he is in and feel happy (Huizinga, 1995, p.18-51). As can be seen in the features discussed above, the play has a number of healer features that are good for man, improve him and most importantly, make him happy, beyond relying entirely on the free will of the human being. If the art of theatre returns to its playful essence from this point of view, it can remove away the 21st century audience from the negative effects of the social structure it is in and can entertain and make the audience happy for a while. Conclusion Art, which dates back as long as human history, has undertaken a function that will respond to human needs in every period. It has been observed that the works of art that emerged within the framework of the needs also had a healing effect on the people of that period. The function undertaken by art in today's 21st century is to help man, who is isolated and alienated from his environment in the globalizing world, in returning to his essence and nature. For this purpose, every branch of art has begun to seek its own creation essence and has oriented to theories of origin as a starting point. The art of theatre has also chosen the ritual theory as its source of creation, and practices centered on rituals have been made in this regard. However, in this study, pre-ritual reflex, representational, imitative and symbolic behavior models were discussed in terms of being a source for theatre, and how these behaviors turned into play was discussed. Based on the information discussed, it is seen that the play has a past almost as old as human history and responds to the physiological-social needs of the man. Especially after the primitive period, plays performed only for pleasure and entertainment turned into rituals, worship and ceremonies. The characteristics of the play that addresses to human motivation such as entertaining, giving pleasure and making happy are also preserved in various plays and art, which is described as a superior form of the play. These playful features, which are the most prominent 124 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 in the art of theatre, remind us exactly the point where the theatre should return to its essence. If the art of theatre can create the "pleasure of playing" in its own structure, in which the audience can also be involved, today's audience will have regained their childish happiness, albeit a little returned to their essence. References Allport, H. F. (2003a). Sosyal Psikoloji 1. (Çev: B. Yalçın). Ankara: Yeryüzü Yayınevi. Allport, H. F. (2003b). Sosyal Psikoloji 2. (Çev: B. Yalçın). Ankara: Yeryüzü Yayınevi. And, M. (2007). Oyun ve Bügü-Türk Kültüründe Oyun Kavramı. İstanbul: Yapı Kredi Yayınları. Aristoteles (2002). Poetika.(Çev: İ. Tunalı). İstanbul: Remzi Kitapevi. Candan, A. (2003). Yirminci Yüzyılda Öncü Tiyatro. İstanbul: İstanbul Bilgi Üniversitesi Yayınları. Charlesworth, B.&D. (2003). Evrim. (Çev: S. Gül). Ankara: Dost Kitabevi. Childe, G. (2004). Kendini Yaratan İnsan. (Çev: F. Ofluoğlu). İstanbul: Varlık Yayınları. Cüceloğlu, D. (2004). İnsan ve Davranışı- Psikolojinin Temel Kavramları. İstanbul: Remzi Kitabevi. Fink, E. (2010). Bir Dünya Sembolü Olarak Oyun. Ankara: Dost Kitabevi Yayınları. Gadamer, (2005). H. G. Güzelin Güncelliği-Oyun, Sembol ve Festival Olarak Sanat. Konya: Çizgi Kitabevi Hançerlioğlu, O. (1993). Dünya İnançları Sözlüğü, Dinler, Mezhepler, Tarikatlar, Efsaneler. İstanbul: Remzi Kitabevi. Huizinga, J. (1995). Homo Ludens-Oyunun Toplumsal İşlevi Üzerine Bir Deneme. (Çev: M. A. Kılıçbay). İstanbul: Ayrıntı Yayınları. Keyman, F. (1997). Etik, Siyaset ve Demokratik Ahlak: Türkiye Üzerine Yansımalar, Küçülen Dünyada Büyüyen Etik Sorumluluk. Varlık Aylık Edebiyat ve Sanat Dergisi. Kitap eki, sayı 1077, 2-4. Malinowski, B. (1992). Bilimsel Bir Kültür Teorisi. (Çev: S. Özkal). İstanbul: Kabalcı Yayınları. Nutku,Ö. (2001). Dram Sanatı-Tiyatroya Giriş. İstanbul: Kabalcı Yayınevi. Saltık, A. (1995). ―Çağdaş Toplumlarda STK‘ların Sosyo-Ekonomik Temelleri‖, Gönüllü Kuruluşlar Konferansı, 28-29 Mart 1995, Türkiye Çevre Vakfı Yayını, Ankara, s.21-40. Şahin, K., F. (2019) Oyuncunun Fizikselleşmesinde Stilizasyon ve Deformasyon Yöntemlerinin Bir Yaklaşım Olarak Kullanılması ve Bir Uygulama, Eskişehir Anadolu University, Graduate School of Fine Arts. Şenel, A. (2001). İlkel Topluluktan Uygar Topluma, Geçiş Aşamasında Ekonomik Toplumsal Dönüşüm (5.basım), Bilim ve Sanat Yayınları, Ankara Şenel, A. (2004). Siyasal Düşünceler Tarihi (11th Abridged Edition) Bilim ve Sanat Yayınları, Ankara Şenel, A. (2009). Kemirgenlerden Sömürgenlere İnsanlık Tarihi. İstanbul: İmge Kitabevi Şener, S. (2012). Dünden Bugüne Tiyatro Düşüncesi. (7.Basım). Ankara: Dost Kitabevi Yayınları. Tanilli, S. (1994). Yüzyılların Gerçeği ve Mirası İnsanlık Tarihine Giriş. İstanbul: Cem Yayınevi. Childe, G. (2004). Kendini Yaratan İnsan. (Çev: F. Ofluoğlu). İstanbul: Varlık Yayınları. Malinowski, B. (1992). Bilimsel Bir Kültür Teorisi. (Çev: S. Özkal). İstanbul: Kabalcı Yayınları 125 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Reflectıon of 20th Century Modern Urban Life in The Art of Painting: The Case of The United States Eda Uygan Dokuz Eylül University, eda_uygan@hotmail.com The history loneliness, which is a human concept, is thought to be equivalent with the history of man. However, in the age we live, loneliness is among increasing problems both in psychological and sociological terms. With the developing industry, technology and modernization, social life style, culture and family structure have changed, human lifespan has prolonged, and the number of individuals living alone has increased. With rapid urbanization and sudden detachment from nature, situations like starting to live in small apartments have caused people to experience a deep sense of loneliness. Considering the fact that loneliness is experienced at different levels in each country, it was thought that it would be better to use a country sample in the study. In the study the individual and social effects of technology in modern age are mentioned and the definition of the concept of loneliness, emotional states it includes and its types are included. Qualitative research method is used in the research. Archives and written sources related to the literature review have been reached. Afterwards, by determining a work of artists related to the subject, the analysis of the works in the framework of the subject is provided. In the study it is examined how American artists depicted the emotion of loneliness in the cities of U.S.A in the 20th century. In the study, it is aimed to compare and contrast the artists‘ depiction styles of loneliness, one of the problems of our age. As a result of study, the works of artist such as Edward Hopper, Andy Warhol, Richard Estes, Hughie Lee-Smith, George Copeland Ault, Maynard Dixon, Reginal Marsh, Guy Pene Du Bois, and Paul Wonner are found. It is seen in the works that situations like a deep loneliness and social loneliness, types of loneliness along with social isolation coming with loneliness and melancholia stand out. Artists reflected their descriptions of loneliness through both male and female genders in their works. On the other hand, some artists preferred to convey the feeling of loneliness to the audience only with the feeling of emptiness and fullness in the space, color and brush strokes. Thus, it has been observed that the artists conveyed both loneliness of their own and the urban societies‘ with an expressive discourse and different stylistic features. Keywords: Loneliness, 20th century, United States of America, Painting art Introduction When the historical process is examined, it is thought that the beginning of loneliness is related to human existence. However, today, the changing social life style, culture, technology, family structure, breaking away from nature and prolonging human life is one of the issues that many disciplines are interested in. With the transition to modern life, the feeling of individuality that started in Europe in a short period of time, has brought problems such as moving away from the environment and society, nuclear families starting to live in small flats in the city or the increase in the number of people living alone. All these problems that increase the feeling of loneliness have affected disciplines such as psychology, sociology, philosophy and literature. The loneliness that increased with this social change caused the artists to reflect this complex feeling in their works in their own style. In this research, it is aimed to compare the similarities and differences in the ways in which the artists depict 126 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 loneliness, which is one of the most important problems of our age, by examining how American artists reflect loneliness in their works in the cities of the United States. The research was limited to one of the works of American artists in the cities of the United States of America in the 20th century, on which they dealt with the subject of loneliness. When the literature is examined, it is seen that in the United States, Edward Hopper is referred to as the "painter of loneliness" in terms of the general subject of his works. However, different artists who studied the same subject in the 20th century, were also reached, so it is thought that the study will contribute to the field. Loneliness as a Concept and Sense Loneliness, which has become an epidemic disease of the modern world with the developing industry and technology, continues to pose a more serious problem with each passing day. Loneliness; with the influence of the popular culture, has recently become a lifestyle by going beyond a feeling in the world. While the number of people living alone in the United States constituted 20 percent of the population in the 1980s, this rate has reached 40 percent today (Yahyaoglu, 2019, p. 29). The concept of loneliness is one of the issues that many disciplines deal with, which continues to become an increasingly important problem today. Psychology, literature, sociology and philosophy can be given as examples to these disciplines. Because loneliness is a complex and multidimensional concept, it has been defined in different ways by many disciplines and thinkers. Loneliness, a feeling that can be defined differently for each individual, is an unpleasant situation experienced as a result of the individual's perception of the difference between their own existing social relationship and the social relationship person wants to have (Yahyaoglu, 2019, p. 30). American existential psychologist Rollo May (1909-1994) described loneliness as a common occurrence in western societies. The reason for this is that individuals generally live in their personal worlds. Because of the lack of meaningful and bearable ties in their personal worlds, fear of loneliness leads to uncertainty and often bad consequences for individuals (Cited Paula, 2011, p. 223). According to the Austrian psychiatrist Alfred Adler (1870-1937), the founder of the individual psychology school, loneliness and escapism occur in different ways. People who isolate themselves from society cannot look into the eyes of others, do not pay attention to and listen to what is said to them. In all social relationships, they tend to distance themselves from other people. It can be understood from their behaviors and movements such as their voice tones, handshakes, and greetings, and the distance they create between them and people is felt (Adler, 2020, p. 204). American psychoanalyst, philosopher and sociologist Erich Fromm (1900-1980) defined loneliness as ―the painful situation that creates feelings of anxiety and helplessness in individuals‖ (Cited Akgül, 2016, p. 27). According to Turkish psychiatry professor, psychotherapist and writer Engin Geçtan (19322018), loneliness is such a frightening and painful feeling that even psychiatrists cannot adequately address this feeling. Loneliness; It is a complex and difficult concept that can be studied extensively. The concrete loneliness in the form of living alone, the loneliness in the form of alienation from one's own social group, the loneliness in which he is detached from his environmental relations with his own choice, the loneliness he experiences as a result of being pushed by his environment, and the real loneliness that the person experiences in case of not being understood by everyone (Geçtan, 2021, p. 108). The philosophical literature describes loneliness as part of the human condition for the individual to realize their personal maturity, freedom and the development of their highest level of relationships. Existential phenomenologists have explored the meaning and paradoxical nature of loneliness for individuals in greater depth. The essence of his thoughts emerged as follows: ―Loneliness is painful, inevitable, negative but also necessary for individual maturity and development‖ (Cited Paula, 2011, p. 223). Özdemir Asaf (1923-1981), one of the Turkish poets of the Republican period, emphasized that loneliness is a personally subjective situation with the verse ―you can not share loneliness, if you do, there will be no loneliness‖ in his poem "Loneliness Can Not Be Shared". 127 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 One of the important variables regarding loneliness is the concept of "time". When considered in terms of time, the duration of loneliness can be examined in three ways: short-term (temporary) loneliness, situational loneliness, and long-term (chronic) loneliness. Short-term (temporary) loneliness can sometimes be mentioned during the day when relational expectations are not met. Since these feelings are known to be temporary, no anxiety is experienced. Situational loneliness occurs after a certain event and generally the individual's loneliness continues until the transition is completed and ends when it is completed. Long-term (chronic) loneliness occurs when the person stays away from satisfactory relationships for years (Erol, 2018, p. 23-24). Although the symptoms of loneliness differ from person to person, examples such as feeling of insignificance, self-pity, suicide attempts, increase in activities performed alone, falling in silence, despair, and keeping yourself away from everything can be given in general (Yıldırım, 2008, p. 6-7). Loneliness may arise as a result of early life experiences where distance, indifference and emptiness exist in the main themes that characterize the child's relationships with others (Peplau, 1955, p. 1476). Today, one of the biggest problems of elderly people is loneliness. With the change in family structures experienced with industrialization and urbanization, there has been a transition from traditional large families to modern nuclear families. As a result of the transition to a nuclear family, the shrinkage of families and the separation of the young generation from their family as a result of establishing their own nuclear family constitute the period in which loneliness problems are frequently experienced in old age (Uncu et al. , 2002, p. 65). Types of Loneliness According to American nurse Hildegard Peplau (1909-1999), who is considered the mother of psychiatric nursing and nurse of the century for her theoretical contributions to medical science, loneliness is divided into three groups. Secludedness, solitude and loneliness. A common experience of secludedness; is the feeling that occurs when the individual is distant while trying to establish close relationships with people. It can be felt by the occurrence of the individual in isolation or despite the closeness in a group (Peplau, 1955, p. 1476). The famous American comedian and actor Robin Williams (1951-2014), who committed suicide in 2014, can be cited as someone who has an experience similar to this definition. His description was: ―I used to think the worst thing that could happen to me in life was to be alone. But it wasn't like that. The worst thing that could happen in life is being alone among the people who make you feel lonely." (Cited in Erol, 2018, p. 22). Solitaryism; Loneliness is often confused with the concept of "solitude". Although sometimes being alone is seen as equivalent to solitude, they are different concepts from each other. While being alone may be a conscious choice, loneliness is not. When being alone is the free choice of the individual, the person feels positive emotions (Erol, 2018, p. 28-29). Being alone allows the individual to focus and concentrate on certain types of problems. For example; scientists, painters, poets and writers are preferably left alone for at least one period of their lives. This enables them to avoid distractions that hinder their success and increase their productivity (Peplau, 1955, p. 1476). Loneliness is not a chosen situation. The individual often does not feel lonely; instead, inexplicable fear, desperation, and extreme restlessness are felt. Some people, on the other hand, stated that their works and powers originated from the feeling of loneliness and that this feeling, which actually hurts the individual, reveals their real potential (Yahyaoğlu, 2019, p. 23). Studies conducted in the population and patients have found that loneliness is closely related to suicidal behavior. From this point of view, the feeling of loneliness is more important. With the sudden fluctuations in the emotions of the artists, their turbulent lives, the difference and separation from the people in the society, it is inevitable that the feeling of loneliness covers a large part of person‘s life (Yahyaoğlu, 2019, p. 30). ―Loneliness is an emotion that is left over from the separation of people with other feelings by colliding with them in the chaos of emotions. When there is a lot of emotion and feelings begin to mix, loneliness sets itself apart from the others with a higher body of emotion than emotion. Just as the upper mind is a commanding mind, the upper emotion directs the spirit world with its ability to control 128 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 other emotions and lead the way to results from causes by standing at the crossroads of emotions.‖ (Yahyaoğlu, 2019, p. 35). Loneliness is an emotion that cannot be seen but can be felt and predicted. Eyes in the human body are the symbol of love and loneliness (Yahyaoğlu, 2019, p. 37). Since the feeling of loneliness differs from person to person, it can be said that its varieties are equivalent to the number of people who experience this feeling. In general, when the types of loneliness are examined, it is seen that they are grouped under five main headings as deep loneliness, social situation loneliness, emotional loneliness, hidden loneliness and triad loneliness (Yahyaoğlu, 2019, p. 38-39). Deep loneliness is the situation in which the individual completely cuts off his / her relationship with the environment and includes different symptoms of depression. In this type of loneliness, it can be observed from the outside that the individual suffers in a deep sense of loneliness. In addition, weakness, fatigue, inability to make a decision, forgetfulness, despair and suicidal thoughts prevail in the individual (Yahyaoğlu, 2005, p. 42-43). ―Loneliness is not only associated with the scarcity or inadequacy of social relationships. Persons who feel long-term and deeply lonely perceive their situation as a more complex process due to their feelings of inadequacy, shame, distress and deprivation. For this reason, anxiety and pessimism are more prominent in establishing supportive and reliable relationships in terms of close friendships and relationships in people who experience longterm loneliness. Lonely people unknowingly establish relationships with insecure people who lack respect and love and reinforce their loneliness. " (Erol, 2018, p. 65). Deep loneliness is more common in young people in general. Interpersonal independence and sentiment are more prominent in young people. As they have a pure, deep and open love for all kinds of unrequited sacrifices, it is possible for them to enter deep loneliness as soon as they lose the value they depend on (www.halimaltinisik.com). Social loneliness arises when a person feels lonely in the society they live in. It causes a person who does not feel belonging to the society he lives in, and becomes alienated from the society by not participating in social activities (Yahyaoğlu, 2019, p. 40). When the historical process is examined, it is seen that societies are mostly indifferent to "alienation" tendencies. The term alienation was used by Hegel and Fichte in the early 19th century, but was only influential among groups of philosophers. When Marx related his interpretation of the capitalist order with the self-alienation of the human, the term entered the discipline of sociology in the 40s. Today, it has become one of the issues that many people and disciplines are interested in (Pappenheim, 2002, p. 4). In general, it is thought that living in a foreign country and living in a city where there is no known person cause the social situation loneliness due to the adaptation problems in the individual (Yahyaoğlu, 2019, p. 40). Emotional lonelines is the loneliness that people experience as a result of disappointment when they cannot reach their spiritual expectations, love and values to the extent they want (Yahyaoğlu, 2005, p. 43). Hidden loneliness is the kind of loneliness that a person does not reflect, but lives within himself. This loneliness is common in people who do not react to justice, remain silent and cannot express themselves (Yahyaoğlu, 2005, p. 44). Triad loneliness is a form of loneliness that occurs with symptoms such as depression and fear. Reflection of Loneliness in 20th Century Modern American Cities on Painting The 20th century has been an important period in which many social, cultural, economic and psychological changes have been experienced in the United States, as for the whole world. Individualization, which first started in Europe, had its effects in the United States in a short time. Everett Shinn, 1900, All Night Cafe, pastel, watercolour and graphite on paper, 25 x 33,8 cm, Private Collection. 129 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Source:https://www.amazon.com/Everett-Private-Collection-UnframedReproduction/dp/B07HB9WQ26 (Date of access: 05 May 2021) Everett Shinn (1876-1953) began his career as an artist-reporter for a Philadelphia newspaper in the early 1890s. Shinn, who is also a successful illustrator, began to paint urban life for his subjects at the turn of the century. He was one of the members of the group known as the "Ashcan School", called "Eight", which opposes traditional and academic art (www.nga.gov). The artist, who preferred to portray urban life and ordinary life in a realistic way, painted a night view of New York City in his work named All Night Cafe. Lamb, beef and eggs are featured on the menu in front of a cafe. The interior of the cafe is bright and people seem to sit together, or at least close together. However, this lonely figure standing on a snowy sidewalk in front of an open cafe in New York in the 1900s is not part of it. He is just one of the more than three million inhabitants who have been divided and isolated (ephemeralnewyork.wordpress.com). Guy Pene Du Bois, 1919, The Confidence Man, Oil on plywood panel, 50,8 x 38,1 cm, Brooklyn Museum, New York. Source:https://commons.wikimedia.org/wiki/File:Brooklyn_Museum__The_Confidence_Man_ _Guy_P%C3%A8ne_du_Bois_-_overall.jpg (Date of access: 05 May 2021) Guy Pene Du Bois (1884-1958), painter and art critic. Born in the United States of America to a French family, the artist portrayed the city life, cafes, fashion environments, theaters and art galleries reflecting the American culture and society of the 1920s. The characteristic themes of his works are inspired by human figures in situations the artist sees in life and recreates from his memory. Fascinated by social interactions and class roles, the artist reflected the relationships between men and women and the nature of social discourse conveyed through body language. The roles and changes he observed in his works were elaborate and carefully created just like in a script (bonapartedotblog.wordpress.com). In The Confidence Man, Du Bois reflects the lack of interpersonal discourse between the couple on an evening scene. The woman draws the attention of the man with her brave and open pose. On the other hand, with the depiction of a man of trust or a crook in the work, the male figure stands aggressively next to the woman. This threatening stance and sad face of the male figure shows that he should not be trusted. Despite the physical proximity of these two series of figures, their faces are incomprehensible and the nature of their interactions remains unclear. The work of the artist brings to mind social alienation in the sparkle and glow of the city's party scene that evening (www.brooklynmuseum.org). 130 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Oscar Bluemner, ca. 1927, City Scene at Night, Transparent and opaque watercolor on paper, 12,1 × 18,6 cm, Whitney Museum of American Art, New York. Source: https://whitney.org/collection/works/10319 (Date of access: 05 May 2021) Oscar Bluemner (1867-1938) produced distinctively modernist works that synthesized the geometric experiment of Cubism with the acidic colors and vibrant juxtaposition of German expressionists. Bluemer has been largely ignored during his lifetime and seen unsuccessful. He committed suicide due to his debts and the death of his wife. He is now recognized as an important artist who contributed significantly to the development of American modernism in the early 20th century (www.sothebys.com). In the artist's work City Scene at Night, it is seen that he reflects a dark, gloomy and deserted street view. The buildings and windows are dark in the street illuminated only by the street lamp. Except for the colors reflected by the light from the street lamp, there are no signs of life or human traces in the work. It is seen in the artist's work with brown, blue and black colors that urban life reflects the feelings of desolate loneliness and claustrophobia. Reginald Marsh, 1930, Why Not Use the ―L‖?, Egg tempera on canvas, 91,4 x 12,.9 cm, Whitney Museum of American Art, New York. Source: https://whitney.org/collection/works/1560 (Date of access: 05 May 2021) Reginald Marsh (1898-1954) studied with John Sloan (1871-1951), Kenneth Hayes Miller (1876-1952) and George Luks (1867-1933) in the Art Students League. He was influenced by the work of the painter Thomas Hart Benton (1889-1975), whom he met while visiting Renaissance masterpieces in Paris. Reginald Marsh's themes are homeless people living in downtown Manhattan, burlesque performances, daring scenes on Coney Island and the seaports, the hustle and bustle of everyday life, which he handles with subtle psychological thinking and a vivid sense of urgency in his brushstrokes. Because he rejected the modernist tradition but felt a kinship with Italian Baroque masters, his style was analyzed in the context of Social Realism (www.sothebys.com). Why Not Use the "L"? The painting named "L" raised above the city streets of three passengers in the period of depression highlighted the distracted individual expressions of tired and anxious forms. The walls of the vehicle are covered with advertisements that Marsh meticulously copied into his sketchbooks: "The subway is fast, definitely! But the open Air Elevated gets you there faster and more comfortably. Why not use the" L "?" This train could be one of two lines to Coney Island, as 131 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Marsh often goes there in search of objects to paint. One of the stops on these lines is the Eighteenth Avenue, which can explain the sign that says "East 18" in the upper right corner of the picture. The 1930s were an economically bad decade for the United States, but a very rich period for art. Marsh's paintings often contain ironic political commentary. In this work, the artist depicts a worn elevated train from the East End in 1930 and isolated, depression-era travelers (whitney.org). Barbara Stevenson, 1933-1934, Apple Vendor, oil on canvas, 79,3 x 74,1 cm, Smithsonian American Art Museum, Washington DC. Source: https://americanart.si.edu/artwork/apple-vendor-23048 (Date of access: 05 May 2021) Barbara Stevenson (1912-2006), a muralist and modernist painter, studied at the St Louis School of Fine Arts and graduated in the midst of depression. Known to have moved to California in the 1930s, the artist received a commission from the Federal Arts Project for murals at the Salinas Children's Hospital and Ventura Post Office. In 2000, her life was the subject of the feature-length documentary "Ghost Bird: The Life and Art of Judith Deim". Directed by Irena Salina, the film won the award for best documentary at the 15th Fort Lauderdale International Film Festival and starred at the 2001 Sundance Film Festival (americanart.si.edu). Stevenson made her painting Apple Vendor for the Apple Vendor for the Public Works of Art Project, a "New Deal (1933-1939)" program created by the federal government to provide financial and moral support to American artists during the Great Depression. Thus, artists were encouraged to paint the "American Stage", which means they should record the look and feel of the country. This scene depicts an old man sitting on a street corner with piles of yellow and red apples in front of him with a piece of paper written "5 cents per piece." The male figure, who is depicted as bent in front of his head, depressed, sad, tired and lonely, has created a heroic and monumental existence by dominating the whole composition. Factory chimneys form a silhouette against the golden sky, with a sign of industry and hope in the background. With the inclusion of a mother and child in the work, optimism can be felt for the future, and at the same time, this situation created a generational timeline next to the apple seller (americanart.si.edu). Maynard Dixon, 1934, Forgotten Man, oil on canvas, 40 x 50 cm, Brigham Young University Museum of Art, Provo. Source: https://moastore.byu.edu/product/forgotten-man/ (Date of access: 05 May 2021) 132 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Maynard Dixon (1875-1946) is considered by many art collectors to be the leading artist in the West. Dixon has left an indelible legacy and the ability to take over urban life and its inhabitants in a non-judgmental and honest way (www.maynarddixon.org). Dixon depicts a sad, desperate man sitting on a sidewalk in his Forgetten Man. It sums up a period in American history when a quarter of the country's workforce was unemployed. The figure's hunched shoulders, downward gaze, and helpless stance of unemployment tell a lot about the emotional cost of the Great Depression on many Americans. The people who seem to be among the luckier members of the society because of their good dressing are shown outside the picture as they hurried behind the seated figure. In the work, the artist emphasized the loneliness of the forgotten man sitting next to the fire hydrant, in the face of the indifference of the passers-by despite his still, tired, hopeless state (moastore.byu.edu). O. Louis Guglielmi, ca. 1936-1939, Town Square, oil on canvas, 76,5 x 91,7 cm, Smithsonian American Art Museum, Washington DC. Source: https://americanart.si.edu/artwork/town-square-9727 (Date of access: 05 May 2021) O. Louis Guglielmi (1906-1956) did purely with imagination, believing that his inner world was as "real" as the streets and houses outside. Many of his paintings depict families struggling to live in great depression, but Town Square alludes to a later, sadder moment when no one is left. Even the statue depicted in the work looks down as if wondering where all life is going. Guglielmi (Magazine of Art, January 1944) stated on about his art "I love to evoke the feeling of a street, the invisible life hidden by blank walls, its noise and the mystery of a deserted street." (americanart.si.edu). The emptiness of the city square in the work creates a strong contrast with the dynamism that is hoped for. The work in Magical Realism style conveys sorrow to the audience. These feelings, on the other hand, are emphasized in the abandoned city, especially with the statue facing downwards. The only evidence of human spirit or human activity passing through the square is a jacket thrown behind a chair in the distance, perhaps forgotten by its owner. As Guglielmi refers to another painting in 1944, the work is made with imagination expressing his inner world, "the feeling of a street, the noise and also the mystery of a deserted street". Guglielmi, mostly reflects the distress and poverty of the people, is an artist who is aware of the aspirations in the city and the architectural loneliness of the city and takes them as a subject in his works (english.ahram.org). Charles Burchfield, 1938, End Of The Day, Watercolor over pencil and charcoal on white paper, 71,12 x 121,92 cm, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. Source: https://www.pafa.org/museum/collection/item/end-day (Date of access: 05 May 2021) 133 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Charles Burchfield (1883-1967) is one of the most innovative artists of the 20th century. Known for reflecting his romantic view of nature, the artist served in the army for a short time at the end of the First World War. After his tenure, in the 20s, he turned himself to increasingly realistic views of homes, streets, and industrial scenes, which led critics to describe him as a midwestern regionalist. Trying to regain the intense personal quality of his early works, Burchfield began to paint the forces and mysterious existence of nature again in 1943 (americanart.si.edu). In his work titled End Of The Day, the artist portrayed tired workers traveling from the city center towards their homes through a long snow-covered road. While the perspective depicting the icy hill seems to extend the commuting distance, the weathered and old buildings surrounding the street only offer a gloomy shelter for the workers. Like the artist's other small-town images of America in the 1920s, End of the Day interprets the depressing industrial conditions endured by the working class, showing the marginalization and loneliness behind the colorful urban life of the workers and evoking the difficulties of their natural environment (www.pafa.org). George Copeland Ault, 1947, Manhattan Mosaic, oil on canvas, 81 x 45,7 cm, Brooklyn Museum, New York. Source: https://commons.wikimedia.org/wiki/File:George-copeland-ault-manhattan-mosaic1947.jpg (Date of access: 05 May 2021) Ohio-born artist George Copeland Ault (1891-1948) depicted the world around him with a silent grace and an aura of melancholy that could reflect his troubled, reclusive (escaping from people, loving to live alone) life. Associated with painters such as the American Precisionist artist Charles Sheeler (1883-1965), who was the first indigenous modern art movement in the United States and who developed a "semi-photographic" style of painting known as "Precisionism," Ault's geometric architectural work was more subjective, even is mysterious. The sense of silence and solitude in his work led to comparisons with Edward Hopper, but one of Ault's major influences was the Surrealists, especially the Italian Surrealist painter Giorgio de Chirico (1888-1978). Ault was equally aware of American folk painting, a style he discovered despite his extensive, formal education in London. Focusing on urban architecture since the 1920s, Ault has become a well-known artist in the art circles of New York City (www.pafa.org). Narrow view of urban rooftops at George Copeland Ault Manhattan Mosaic; transforms the buildings into an abstract mosaic in which architectural elements are fully evaluated as an aesthetic arrangement of planes and angles. The play of overlapping shapes, the harmonious blend of brown tones and the deep shadows created by the strong light highlight the rich visual geometries of the modern city. At the same time, the composition's tightly enclosed roof area also reveals only a small glimpse of the distant sky, suggesting a sense of claustrophobia and anxiety that some associate with urban life (www.brooklynmuseum.org). 134 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Edward Hopper, 1952, Morning Sun, , Oil on canvas, 71,44 x 101,93 cm, Columbus Museum of Art, Columbus, OH, US. Source: https://www.edwardhopper.net/morning-sun.jsp (Date of access: 05 May 2021) Edward Hopper (1882-1967) studied painting from the realist artist Robert Henri (1865-1929), one of the founders of the Ashcan school. Hopper explains his art as "My goal in painting has always been to make the most realistic replicas of my personal impressions of nature.". He is known as an "American scene" painter who depicts the views of daily life in the United States of America in the 1930-1940s and after (Thompson, 2014, p. 190). Hopper also portrayed his wife Jo in his Morning Sun, which he used as a model for most of the women's paintings. The figures in the artist's works are shown as isolated and lost in thoughts, as in this example. The sunlit figure in the artist's work looks out the window at a series of identical windows of the nearby building. This situation brings to mind that behind every window glass in the city, each of them has a common experience with lonely people who face the new day (www.columbusmuseum.org). In the work, her hair is gathered in a bun, a woman in a short pink dress is sitting on the bed and her knees are drawn to her chest while looking through a window. Sunlight coming through the open window illuminated her bare arms and legs, shadowing her figure on her bed and illuminating the white blank wall behind her. In this game of room's light and emptiness, Hopper highlights the loneliness that surrounds the woman as if she were a prisoner in her apartment (english.ahram.org). Andy Warhol, 1962, Suicide (Fallen Body), Serigrafi, Adelaide de Menil Collection, New York. Source: https://www.researchgate.net/figure/Andy-Warhol-Suicide-Fallen-Body-1962Disponible-en-http janeandertumblrcom_fig1_301713545 (Date of access: 05 May 2021) Andy Warhol (1928-1987) studied painting at the Carnegie Institute of Technology from 1945 to 1949. He is considered to be one of the most important representatives of the pop art movement. Using an art type in which mass production objects are frequently used, the artist reproduced his paintings with poster technique (Thompson, 2014, p. 318). Warhol symbolized the suicide of a human in his work called Suicide (Fallen Body). The source of Warhol's work is the 1947 photograph of photographer Robert C. Wiles, who captured the 135 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 moment known as history's most impressive suicide photo. The person in the photo is Evelyn McHale, who fell into a parked car on 5th Avenue, where she jumped from the Empire State Building in New York. When she falls, she is holding the gift of her fiancee necklace with her gloved hand on her neck, it is like an aesthetically carefully designed photo frame with her elegant dress and pristine makeup. The photo was also published in the Life Magazine as the photo of the week. Warhol, on the other hand, reproduced it with silk printing technique and presented it as a daily use object like cola bottles or soup cans and other works (Pınarbaşı, 2018, p. 264-265). Paul Wonner, 1964, Model Drinking Coffee, oil on canvas, 125,7 x 116,5 cm, Smithsonian American Art Museum, Washington DC. Source: https://americanart.si.edu/artwork/model-drinking-coffee-28188 (Date of access: 05 May 2021) Like other members of the Bay Area figurative school, Paul Wonner (1920-2008) refused abstraction in the late 1950s and 1960s and began to feature light-filled landscapes and interiors, often in their own worlds, where only figures are shown. But even though this image is representational, Wonner focused on the drawing of shapes and the painting on the canvas, as an abstract artist would do. In the artist's work Model Drinking Coffee, the vibrant colors and dramatic contrasts between light and shadow evoke the clear sunlight of a California morning. In this interior-like work, Wonner uses wide brush strokes and thick layers of paint to enliven everything from the sitting figure to the vase on the table and the coffee maker (americanart.si.edu). Richard Estes, 1967, Horn and Hardart Automat, Oil on Masonite 121,92 x 152,4 cm, Private Collection. Source: https://www.nytimes.com/2015/03/20/arts/design/review-richard-estes-painting-newyork-city-features-works-in-abstract-realism.html (Date of access: 05 May 2021) Richard Estes (1932-…) is one of the most important representatives of Photorealism movement, which is one of the controversial art movements of the 20th century and focuses on perfecting the images we see. Estes, who turned to Photorealism in 1967 and said that there was no verbal theory behind his work, painted the views in a fascinating way by using photographs as the source of his paintings. Photorealism has enabled the artist to become a more effective view than 136 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 photography with his surprising intervention in the work, in addition to the photograph that only serves to fix the moment in the work (Fineberg, 2014, p. 373-374). Transparency and reflections draw attention in Estes' work named Horn and Hardart Automat. Glass showcase windows are the middle ground that customers see beyond the glass and objects behind the viewer are reflected on the window surface and are evenly accentuated. While the detail in this painting is highly simplified and stylized, it is clear and understandable that it is projected as a photographic documentation (infinitedictionary.com). The reflections at the top of the painting are so strong that it dominates the interior; However, even though the figure sitting in the cafeteria below has priority over the projected outdoor space, its appearance through the glass also shows the passive positioning of the human being in modern urban life. The world's first restaurant opened in Berlin, Germany in 1895, but the vending machine is only considered an American phenomenon. In fact, this high-tech restaurant, named after a company that also manufactures such food vending machines, was founded in other northern European cities and its technology was soon followed by Joseph Horn (1861-1941) and Frank Hardart (1850-1918), who opened the first American vending machine in Philadelphia in 1902 (www.greelane.com). Hopper captured the loneliness and existential anxiety of city life in his paintings, which are set on automatons. This deep sense of cultural immersion is expressed in this work, as in the post-war paintings of photorealistic artist Richard Estes. For Estes and Hopper, the automaton embodied New York life because it is really difficult to imagine the city without it. Hughie Lee-Smith, ca. 1970, Confrontation, oil on canvas, 83,8 x 91,4 cm, Smithsonian American Art Museum, Washington DC. Source: https://americanart.si.edu/artwork/confrontation-78130 (Date of access: 05 May 2021) The art of Hughie Lee-Smith (1915-1999) conveyed the alienation and isolation experienced by many African Americans in the mid-twentieth century. However, his work provides broader insight into the inability to reach and connect with others in wider areas than race. Although Lee-Smith was a direct contemporary of Jacob Lawrence (1917-2000), his art followed a different trajectory, a sense of isolation and alienation in Edward Hopper's work and an influenced by the surrealist tendencies of the Italian Giorgio di Chirico (1888-1978), has adopted a realism approach. This surreal direction in his work has intensified the emotional distance that people convey in his paintings. For over sixty years Lee-Smith has explored the psychological corners of human experience based on separation and displacement. The artist stated his works as "I think my paintings have something to do with an invisible life, with reality on a different level." Lee-Smith presents an incoherent and disturbing image in his work Confrontation, with its semi-collapsed wall, extraordinary arrangement, hulahup-like ring, and a distant view of calm water and low mountains. It is assumed that there is a connection between the two young women, but the reason for their alienation is unknown. Lee-Smith has explored the themes of the human condition throughout his life and the social, individual, and racial differences that hinder human interaction. However, in this work Lee-Smith revealed a sense of possibility. The collapsing wall that separates women from the landscape is not an impenetrable obstacle; the tranquil world beyond is accessible. In 137 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 this work, it does not show the tension between two people, but the tension and alienation between girls and their situation (americanart.si.edu). Conclusion The works of the artists on the subject of loneliness have provided relief both as a result of the confrontation that they lived at least one period of their lives and the expression of this with the art of painting. As a part of American society, it has been observed that they reflect the feeling of loneliness they personally experienced or observed in the city with their own individual style, powerful images and descriptions. It has been observed that artists benefit from the healing power of art by transforming their loneliness and the loneliness images brought about by urban life into a creative power. At the same time, with these works, the need for expression of the problems experienced by people who have experienced or lived a similar feeling in society was met. Thus, the artists helped them to understand that people who experience this feeling are not alone as they think, and that there are many people who experience similar emotional situations in the society. Realism, Social Realism, Photo Realism, Magical Realism, Expressionism, and Sensitivity, the first indigenous modern art movement in the United States, have been found in artworks. Besides, Stevenson and Hopper have reached out to artists depicting the American scene. In the works, it was seen that deep loneliness and social situation loneliness, loneliness, social isolation and melancholy situations come to the fore. Figures in the works, the isolation brought about by loneliness, the feeling of alienation and feeling sad, suffering and helplessness, claustrophobia, feeling of nothingness and alienation come to the fore. Regarding the age level of the figures representing loneliness, it can be said that the depictions of the young and middle-aged people generally stand out in the paintings. The artists reflected their descriptions of loneliness through both male and female genders in their works. Some artists, on the other hand, preferred to convey the feeling of solitude to the audience only with the feeling of emptiness and fullness in the space and color and brush strokes. References Adler, A. (2020). (Çev. Ayda Yörükan). İnsan Tabiatını Tanıma. İstanbul. Türkiye İş Bankası Kültür Yayınları. Akgül, H. (2016). Yalnızlık Duygusu ve Ölçümü. Sobider. The Journal of Social Science. Sayı:9, s. 273-289. Erol, Z. (2018). Yalnızlık Psikolojisi Duygusal İhmal ve Kronik Yalnızlık. İstanbul. Timaş Yayınları. Fineberg J. (2014). 1940‘tan Günümüze Sanat: Varlık Stratejileri. İzmir. Karakalem Kitabevi Yayınları. Geçtan, E. (2021). İnsan Olmak. İstanbul. Metis Yayınları. Pappenheim, F. (2002). (Çev. Salih Ak). Modern İnsanın Yabancılaşması: Marxa ve Tönniesye Dayalı Bir Yorum. Ankara. Phoenix Yayınevi. Paula, K. (2011). (Çev. Selçuk Zengin ve Muhammed Kızılgeçit). Yalnızlık Hissi: Teorik Yaklaşımlar. Journal of Academic Research in Theology. Cilt: 11, Sayı: 3, s. 218-229. Peplau H.E. (1955). Loneliness. The American Journal of Nursing. Lippincott Williams & Wilkins. Vol. 55, No. 12. p. 1476-1481. Pınarbaşı, S. Ö. (2018). Batı Resminde İntihar Betimleri Üzerine Bazı Düşünceler. Art-Sanat Dergisi, (10), s. 236-268. Svendsen, L. (2019). (Çev. Murat Erşen). Yalnızlığın Felsefesi. İstanbul. Redingot Kitap. Thompson, J. (2014). Modern Resim Nasıl Okunur: Modern Ustaları Anlamak. (Çev. Firdevs Candil Çulcu). İstanbul. Hayalperest Yayınevi. 138 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Uncu, Y., Özçakır, A., Sadıkoğlu, G., Alper, Z., Özdemir, H., Bilgel, N. (2002). Bursa Huzurevi Yaşlılarının Sosyo-demografik Özellikleri ve Sağlık Taraması Sonuçları. Journal of Uludag University Faculty of Medicine. 28 (3), s. 65-69. Yahyaoğlu, R. (2005). Yalnızlık Psikolojisi: Kurt Kapanından Huzur Limanına. İstanbul. Nesil Yayınları. Yahyaoğlu, R. (2019). Yalnızlık Psikolojisi. İstanbul. Hayat Yayınları. Yıldırım, E. (2008). Yaşlı Bayanlarda Fiziksel ve Rekreasyonel Aktivitenin Yalnızlık Düzeyine Etkisi. Master Thesis, Erciyes University, Institute of Health Sciences, Kayseri. Internet Sources https://www.jstor.org/stable/3469548 (Date of access: 25 March 2021) https://bonapartedotblog.wordpress.com/2020/08/07/guy-pene-du-bois/ (Date of access: 25 March 2021) https://www.brooklynmuseum.org/opencollection/objects/1222 (Date of access: 25 April 2021) https://ephemeralnewyork.wordpress.com/tag/everett-shinn-open-all-night-cafe/ access: 25.04.2021) (Date of http://www.halimaltinisik.com/yalnizlik-ve-yasam (Date of access: 25 April 2021) https://www.nga.gov/collection/artist-info.5629.html (Date of access: 25 April 2021) https://www.sothebys.com/en/artists/oscar-florianus-bluemner (Date of access: 21 March 2021) https://www.sothebys.com/en/artists/reginald-marsh (Date of access: 21 March 2021) https://whitney.org/collection/works/1560 (Date of access: 21 March 2021) https://americanart.si.edu/artist/barbara-stevenson-4648 (Date of access: 21 March 2021) https://americanart.si.edu/artwork/apple-vendor-23048 (Date of access: 22 March 2021) https://www.maynarddixon.org/ (Date of access: 21 March 2021) https://moastore.byu.edu/product/forgotten-man/ (Date of access: 21 March 2021) https://americanart.si.edu/artwork/town-square-9727 (Date of access: 22 March 2021) http://english.ahram.org.eg/NewsPrint/368174.aspx (Date of access: 22 March 2021) https://americanart.si.edu/artist/charles-burchfield-659 (Date of access: 23 March 2021) https://www.pafa.org/museum/collection/item/end-day (Date of access: 20 March 2021) https://www.columbusmuseum.org/blog/2020/05/12/pocketguide-to-cma-edward-hoppersmorning-sun/ (Date of access: 19 March 2021) http://english.ahram.org.eg/NewsPrint/368174.aspx (Date of access: 24 April 2021) http://infinitedictionary.com/blog/2016/05/11/painters-and-optical-devices-part-3-richard-estes/ (Date of access: 20 April 2021) https://www.greelane.com/tr/be%C5%9Feri-bilimler/tarih-ve-k%C3%BClt%C3%BCr/the-riseand-fall-of-the-automat-4152992 (Date of access: 21 April 2021) https://americanart.si.edu/artwork/confrontation-78130 (Date of access: 22 April 2021) https://www.pafa.org/museum/collection/item/black-night-russells-corners (Date of access: 23 April 2021) https://www.brooklynmuseum.org/opencollection/objects/1284 (Date of access: 24 April 2021) https://americanart.si.edu/artwork/model-drinking-coffee-28188 (Date of access: 25 April 2021) 139 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Comparative Analysis of Vincent van Gogh and Fikret Mualla Saygı’s paintings in Terms of Alcohol Addiction During the Artistic Creativity Process Can Çobanoğlu Dokuz Eylül University, cancobanoglu5@gmail.com The starting point of the concept of creativity, which is defined as "making" and "the process of being", is expressed as a mental process and an artist‘s aesthetic concern when evaluated from an artistic point of view. The mood of the artist in artistic creative process affects the formation process of the work, and thus the style of artist. As a result of studies on mental and behavioral disorders and alcohol-drug addiction, and creativity, it has been observed that individuals who engage in creative activities such as artists have higher rates of emotional disorders than other occupational groups. At this point, the healing power of art plays an important role. In this study, which is under the theme of "The Healing Power of Art", it is aimed to examine the effect of alcohol addiction on artworks. Within this scope, the paintings of the Dutch artist Vincent van Gogh and Fikret Muallâ Saygı are evaluated comparatively, formally and imaginatively, considering the lifestyles of artists. The hallucinations of Vincent van Gogh as a result of his addiction to absinthe were reflected in the artist's works. Moreover, the relationship of yellow and its tones, which he generally used in his works, with alcohol addiction is investigated. The color palette of Fikret Muallâ Saygı used in his works varies according to the emotional state of the artist. During his alcohol treatment, he reflected the pessimism and grief in the hospital in his drawings, which he used blue-purple tones. Although alcohol and painting take an important place in Fikret Muallâ‘s life, they were not complementary to each other in terms of creativity, and the artist got support from his art during his alcohol treatment process. In addition to Van Gogh's fondness for alcohol, the neuropsychological disorders he might have were also reflected in his works. Keywords: Artistic Creativity, Addiction, Vincent van Gogh, Fikret Mualla Saygı Introduction Human beings try to impose themselves on the society for prevention of the increasing loneliness throughout its individual and developmental history. Lovelessness and anxiety caused by loneliness; to facilitate the tendency to use addictive substances (Ögel & Tamar, 2002). Addictive substance use is seen as a public health problem faced by all societies (Erbay et al., 2016). While alcohol and substance addiction greatly affects the mortality rates of societies as well as family dynamics economically and socially (Galea et al., 2004). Alcohol and substance addiction causes the marginalization of the individual in the society and thus many psychosocial effects. Psychosocial effects such as lack of confidence, depression, loneliness, imposter syndrome, isolation from society may cause the individual not to be accepted in society and to seek the solution again in alcohol and drugs (Sevin & Erbay, 2008). Addiction can also cause mood changes, memory and focus problems as well as inappropriate behaviors and reactions. The starting point of the concept of creativity, which is defined as "making" and "the process of being", is expressed as a mental process and an artist‘s aesthetic concern when evaluated from an artistic point of view. The mood of the artist in artistic creative process affects the formation process of the work, and thus the style of artist. Studies on the relationship between the mental and behavioral disorders and alcohol-drug addiction, and creativity, showed that individuals who engage in creative activities such as artists have higher rates of emotional disorders than other occupational groups (Maçkalı et al., 2014). However, the 140 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 rate of involuntary psychiatric treatment is higher in artists than in the others. At this point, the healing power of art plays an important role. In this study, which is under the theme of "The Healing Power of Art", it is aimed to examine the effect of alcohol addiction on artworks. Within this scope, the paintings of the Dutch artist Vincent van Gogh and Fikret Muallâ Saygı are evaluated comparatively, formally, and imaginatively, considering the lifestyles of artists. Methods In this study, works of Vincent van Gogh and Fikret Muallâ Saygı are aimed to be evaluated considering their lifestyles. Descriptive analysis method as one of the qualitative analysis methods was used for comparative, formal and imaginative review of the works. Since the lifestyle of the artist affects their mood, their artistic creative process and thus their style, a brief information about the artists‘ life in presented in this section. Considering chronological order, Vincent van Gogh (1853-1890) was born in Groot Zundert in the south of the Netherlands in 1853. Because of his brother named Vincent, who was stillborn a year ago, he was named Vincent again, and thus the new Vincent became a "substitute baby". Considering that Vincent‘s father, Reverend, was a serious, humorless, selfless pastor in the Dutch Reformed Church, Vincent‘s personality was quite similar to him. Although Mr. and Mrs. van Gogh appeared sensitive, gentle and harmless, many of their children had mental disorders. Theo suffered from depression and severe anxiety attacks in 1891 and died of "dementia paralysis" at the Medical Institute in Utrecht (Wolinsky, 1991). Wilhelmina, a "schizophrenic" patient, spent 40 years in the same mental hospital. Cornelius committed suicide at the age of 33 (Morrant, 1989). Each week the family walked to church in front of grave of Vincent's deceased namesake brother and compared Vincent to him. Therefore, it is an unpredictable fact that Vincent grew up with low self-esteem and a keen awareness of death. For this reason, he repeated the symbols such as death, birth and rebirth in his works (Morrant, 1989). Although he tried from the age of 20 to calm his longing for a mother, increase his self-esteem and find a solution to his self-hatred, the humiliation he would be subjected to for years was inevitable. In these troubled times, Theo as his brother was the closest person to him. He wrote 700 letters to Theo, in which diagnosis of schizophrenia could be seen clearly (Morrant, 1993). Van Gogh met impressionism during his two-year stay with Theo in Paris in 1886, and Henri de Toulouse-Lautrec (1864-1901), another addicted artist, introduced him to absinthe. Absinthe is a clear emerald green liqueur named after wormwood chamomile Artemisia absinthium. It is an alcoholic beverage containing about 14 other herbs such as chamomile, fennel, star anise, hyssop, melissa, veronica and angelica. Artemisia absinthium also contains toxin known as Thujone which is found in plants such as sage, tansy, thuja and white cedar trees. Those who drink absinthe are often at risk of double poisoning from alcohol and thujone. The absinthe became popular in Paris. Several cafes and restaurants have presented it as the "green hour" at a special time of the day (Arnold, 1988; Arnold, 1989; Morrant, 1993). From these years, radical changes in the color palette caused it to gain a more vibrant style. Vincent is known to paint many thuja trees (Morrant, 1993). Since absinthe sharpened perceptions and evoked a cheerful mood, artists used to love the absinthe. Additionally, absinthe can also cause vision and hearing hallucinations, morbid suspiciousness, angry excitement, impulsive violence, and deprivation (Morrant, 1993). Aside from absinthe addiction, there are various hypotheses in relation Van Gogh's disease such as bipolar disorder, epilepsy, porphyria and Meniere's syndrome (Rekand, 2006). Secondly, Fikret Muallâ (1903-1967) was born in 1903 in Istanbul. The death of his mother from Spanish flu at a young age, and Fikret Muallâ's lame due to his passion for football at a young age due to ankle fracture have had a significant impact on his life. Although Muallâ, who also had problems with his father, went to Germany to study engineering, he started to painting and tried to cope with the problem of alcoholism (Alparslan, 2019). He returned to Turkey in 1927 and continued his life as an art teacher at Galatasaray High School and Ayvalık Secondary School. During this period, he also designed drawings for İsmail Hakkı Baltacıoğlu's "Yeni Adam" and Nazım Hikmet's "Varan 3" magazines and theater costumes for the City Theater where Semiha Berksoy works (İpek Azamet, 2012). He made 30 paintings for the Turkish Pavilion at the International New York Fair by Abidin Dino's request (Sönmez, 1992). Fikret Muallâ moved to Paris in 1939 with the inheritance of his father, 141 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 who passed away in 1938. He had difficult times and faced with economic problems due to his running out of money in 6 months and France entering the Second World War, but he never stopped painting (İpek Azamet, 2012). Fikret Muallâ exchanged pictures with Picasso; he appeared alongside famous painters such as Dali, Matisse, and Pisarro (Sönmez, 1992). Muallâ, who was admitted to a mental hospital twice in Istanbul, received alcohol treatment in the Sainte Anne hospital in 1953, due to the increase in inheritance obsession after his brother Melih Saygı died and the inconsisten behaviors as a result of the alcohol problem and fear of the police. The works he made in the hospital in 1954 were exhibited in the Dina Vierny Gallery and sold at very high prices. Although this was his first exhibition, Fikret Muallâ responded aggressively but Dina Vierny opened a Muallâ exhibition again in 1955. Fikret Muallâ agreed with the industrialist Lhermine and made pictures for him. Between 1956-58, Lhermine opened 4 exhibitions of his works (İpek Azamet, 2012). Fikret Muallâ, who became famous in the art world in 1952, made paintings for well-known people such as Dina Vierny, Katia Granoff and Bruno Bassano. The last person Muallâ worked with was the famous collector Raquel Angles. Madam Angles placed Fikret Muallâ in her husband's farm in Reillanne on the foothills of the Alps because of his alcohol problems (İpek Azamet, 2012). Here it was greeted by the local newspaper with the following headline: "Van Gogh's son, welcome to our region!" (Sönmez, 1992). Fikret Muallâ has created more than 300 priceless paintings for Madam Angles here. (İpek Azamet, 2012). Results and Discussions Addiction of absinthe and alcoholism have direct or indirect effects on the artists‘ works. It is noticed that the Vincent van Gogh had abused the absinthe significantly. Within this scope, Lautrec's work on the absinthe with van Gogh's portrait and the Still-life design created by van Gogh using the absinthe can be given as examples (Figure 1-2). It is emphasized that this beverage had an important point during the duration of Van Gogh's mental hospital as well as his daily lifestyle. Besides absinthe; he was also used to excessive use of some other substances such as alcohol, nicotine and bromide (Arnold, 1988; Rekand, 2006). Figure 1. Henri de Toulouse-Lautrec, Vincent van Gogh, 1887, chalk on paper, 54.2 x 46 cm, Van Gogh Museum, Amsterdam. https://www.vangoghmuseum.nl/en/collection/d0693V1962 142 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 2. Vincent van Gogh, Café Table with Absinthe, 1887, oil on canvas, 46.3 x 33.2 cm, Van Gogh Museum, Amsterdam. https://www.vangoghmuseum.nl/en/collection/s0186V1962 The yellow tones in Van Gogh's panels between 1885 and 1890 were studied by Arnold and Loftus (1991). Among the 638 paintings created during this period, the panels with a rich yellow color without blue, violet and white tones were named "high yellow paintings". In addition to the diagnosis of xanthosis with symptoms such as seeing objects through an imaginary yellow glass, the lack of blue color is as important as the yellow color used (Arnold & Loftus, 1991; Rekand, 2006). Among these high yellow paintings, Sunflowers Gone to Seed (Figure 3), which he worked on it in Paris in 1887 and also The Night Café (Figure 4) he painted in Arles in 1888 and his works called Roses (Figure 5) which he created in St. Remy in 1890, can be given as an example. Despite the artist's excessive of many substances, his episodic changes can turn high yellow, and sudden amendments in his artistic style can be addressed by xanthopsia and visual hallucinations associated with absinthe (Rekand, 2006). Figure 3. Vincent van Gogh, Sunflowers Gone to Seed, 1887, oil on canvas, 21.2 x 27.1 cm, Van Gogh Museum, Amsterdam. https://www.vangoghmuseum.nl/en/collection/s0121V1962 Figure 4. Vincent van Gogh, The Night Café, 1888, oil on canvas, 72.4 x 92.1 cm, Yale University Art Gallery, New Haven. 143 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 https://artgallery.yale.edu/collections/objects/12507 Figure 5. Vincent van Gogh, Roses, 1890, oil on canvas, 71 x 90 cm, National Gallery of Art, Washington. https://artsandculture.google.com/asset/roses/DgElRwoxZWloQQ?hl=tr When Van Gogh's artistic preference is examined, it is related to seeing the motif correctly, but choosing to move away from the realistic color depiction on the canvas. It is that the artist's choice of pigment is not conscious, accurate and fluid. With respect to external factors this is still on debate. In one of his letters in 1886, he said, "true drawing is modeling with color" (letter 459a). Later, in his work La Berceuse (Figure 6), which he dealt with in Arles in 1889, he experimented with facial modeling with naturally refracted tones on chrome-yellow skin color, and first of all he aimed at "colorful tranquility" (letter 571a) (Arnold and Loftus, 1991). Figure 6. Vincent van Gogh, La Berceuse, 1889, oil on canvas, 92.7 x 73.7 cm, The Metropolitan Museum of Art, New York. https://www.metmuseum.org/art/collection/search/437984 An image of Vincent's psychological mastery that comes after his illnesses as a result of absinthe addiction, as well as his life-long suffering, can be seen in The Starry Night (Figure 7). In this work, the cloud-like depictions across the sky resemble the archetypal form of the mandala, a symmetrical form that often appears as psychological collision become balanced. The cypress tree in the left plan outshines the traditional church tower on the right. Olive trees seem to reflect the undulating currents in the sky. While representing the turbulence in the sky and the flowing lines on the earth, the tidal wave of his illness now seems to have been proved by a composition that documents its newly found stability. With the black cypress seen on the left of the viewer, the burial tree in this part of France and the symbolic meaning of death, it is thought to indicate another period of illness (Harris, 2002). 144 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 7. Vincent van Gogh, The Starry Night, 1889, oil on canvas, 92.1 x 73.7 cm, The Museum of Modern Art, New York. https://www.moma.org/collection/works/79802 In Fikret Muallâ Saygı‘s works, the traces of a revolt against the destruction, pain and loneliness experienced during the World War II can be seen. Along with the expression of the loneliness that people who toast while eating with pleasure, the longing they feel is a pictorial expression of the warmth and craving at the same time (Figure 8). Moreover, his poor communication skills due to not knowing the language and low self-esteem because of his physical disorder results in traces of loneliness in this painting. The fact that artist‘s alcohol addiction was the only communication tool he could establish with the people around him can be seen when the subject-object relationship behind the formal features of the painting is examined (Tokdil, 2015). Figure 8. Fikret Muallâ Saygı, Meal, 1956, gouache on paper, 29 x 42.5 cm, Collection of Hayim Benbasat. In his works, Muallâ handled the social activities of the bourgeois class on the streets of Paris with all its wealth, and also followed the cigarette butts thrown on the ground. This bourgeois life he ironically witnessed did not make him feel stranger. However, as he wanted to remove this unhappiness with alcohol due to the misfortunes he had experienced, he could not reach a regular life he dreamed of (Akay et al., 2005 as cited in İpek Azamet, 2012). Besides the female and child figures in his works, Muallâ created many constructions by associating these figures in the context of motherchild. In his work (Figure 9), which deals with happy children holding balloons in front of the festive scenery on the streets of Paris, it is interpreted that the artist used balloons to bond with Istanbul and miss this city in a nostalgic sense (Yasa Yaman, 1995 as cited in İpek Azamet, 2012). 145 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 9. Fikret Muallâ Saygı, Elegant Woman in front of Moulin Rouge, gouache, Collection of Oya- Bülent Eczacıbaşı Figure 10. Fikret Muallâ Saygı, Illustration of the Story with the Name of Üsera Headquarters, 1938. Fikret Muallâ was also interested in literature in 1938 when he drew designs for Ses magazine (Figure 10). In his story called Üsera Headquarters, he discussed the relationship between alcohol and painting in his life (İpek Azamet, 2012). It can be seen that in Figure 11, Muallâ used cold colors on the days when he was pessimistic and upset, while he used more vivid and bright colors in his works when he was happy. During his alcohol treatment, he reflected the pessimism and grief in the hospital in his drawings, which he used blue-purple tones. Figure 11. Fikret Muallâ Saygı, Drawings from Sainte-Anne. 146 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 As aferomentioned above, Fikret Muallâ is also known as the Vincent van Gogh‘s son. His brush strokes are comparable with van Gogh‘s as it can be seen in Figure 12 (Topuz, 2014; Güneş and Esin, 2019). Figure 12. Fikret Muallâ Saygı, Boats in the Marne, gouache on paper, Collection of Oya- Bülent Eczacıbaşı Conclusion The mood of the artist in the artistic creativity process affects the formation process of the work and thus the style of the artist. Studies on mental and behavioral disorders, alcohol-substance addictions and creativity has shown that individuals who engage in creative activities such as artists have higher rates of mood disorders compared to other occupational groups, and the rate of involuntary psychiatric treatment with the help of the healing power of art is higher in these individuals. In this paper, the reflections of Vincent van Gogh and Fikret Muallâ Saygı's addiction to alcohol in their works were investigated. The hallucinations that Vincent van Gogh saw due to his absinthe addiction and other illnesses were reflected in the artist's works. Within this scope, the yellow and its tones, which he frequently and intensely used in his works, are thought to be as a result of absinthe addiction. The effects of Van Gogh's troubles and his fondness for absinthe on his works cannot be ignored, but it is said that the artist made his best works when he was happy. The color palette used by Fikret Muallâ Saygı in his works varied according to the mood of the artist. He expressed his loneliness with intense colors and crowded figures. In the process of alcohol treatment, Fikret Muallâ reflected the pessimism and grief in the hospital in his drawings by his blue-purple ink. Additionally, Fikret Muallâ‘s works, it is seen that gouache and watercolor techniques are mostly used. Although alcohol and painting occupy an important place in Fikret Muallâ's life, they were not complementary to each other in terms of creativity, and the artist received support from his art during the alcohol treatment process. REFERENCES Akay, A., Çalıkoğlu, L., and Gürel, H. N. (2005). Fikret Muallâ İçin " Retrospektif". Fikret Muallâ . İstanbul: İstanbul Kültür ve Sanat Vakfı- İstanbul Modern Sanat İktisadi İşletmesi. Alparslan, G. U. (2019). Fikret Muallâ Saygı'nın Resimlerinde Anlam. Social Sciences, 14(6), 2823-2831. Arnold, W.N. (1988). Vincent van Gogh and the thujone connection. JAMA; 260: 3042-3044. Arnold, W.N. (1989). Absinthe. Scientific American, June: 112-117. Arnold, W. N., & Loftus, L. S. (1991). Xanthopsia and van Gogh's yellow palette. Eye, 5(5), 503-510. 147 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Harris, J. C. (2002). The starry night (la nuit etoilée). Archives of general psychiatry, 59(11), 978-979. Erbay, E., Oğuz, N., Yıldırım, B. and Fırat, E. (2016). Alkol ve Madde Bağımlılığı Olan Bireylerin Başa Çıkma Tutumları. The Journal of Turkish Social Research, 20 (3), 597-609. Galea, S., Nandi, A. and Vlahov D. (2004). ―The Social Epidemiology of Substance Use‖, Epidemiologic Reviews, S:26(1). Güneş, Ö. and Esin, M. M. (2019) Fikret Muallâ‘nın Resimlerinde Japonizm‘in İzleri. In 4th International Scientific Research Congress, Yalova, Turkey. İpek Azamet, A. (2012). Fikret muallâ ve eserlerine kuramsal bakış. Unpublished Master Degree Thesis, Cumhuriyet University. Unknown. (2000, 13 February). Onlarca Deliden Biri. Cumhuriyet Dergi, 725. Maçkalı, Z., Gülöksüz, S., & Oral, T. (2014). Yaratıcılık ve İki Uçlu Bozukluk. Turkish Journal of Psychiatry, 25(1). Morrant, J.C.A. (1989) The grandeur and madness of Vincent van Gogh. BC Medical Journal, 31: 430-434. Morrant, J. C. A. (1993). The wing of madness: the illness of Vincent van Gogh. The Canadian Journal of Psychiatry, 38(7), 480-484. Ögel, K. and Tamar, D. (2002). Psikiyatrik Epidemiyoloji, İzmir: Ege Psikiyatri Yayınları. Rekand, T. (2006). Absinthe, the nervous system and painting. International review of neurobiology, 74, 271-278. Sevin, Ç. and Erbay, E. (2008). ―Madde Bağımlılarının Tedavi Sonrası Sosyal Yaşama Uyumları ve Sosyal Hizmet Uygulamaları‖, Journal of Dependence, 9(1). Sönmez, M. (1992). Letters sent by Skylife Magazine Editor-in-Chief Mustafa Sönmez to Taha Toros. Tokdil, E. (2015). 1940- 1970 Dönemi Türk Resminde Soyut Eğilimler, İçerik Çözümlemesi ve Fikret Muallâ. Published Master Degree Thesis. Dokuz Eylül University. Topuz, H. (2014). Pariste Bir Türk Ressam: Fikret Muallâ‘nın Yaşamı. İstanbul: Remzi Kitabevi. Yasa Yaman, Z. (1995). Nakkaş Fikret Muallâ . Ankara: Vakıfbank Kültür Yayınları. Wolinsky, H. (1991). What ailed van Gogh? The Medical Post, 27: 13-14. 148 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The Broken Plates Renovated Through Kintsugi Technique By Paul Scott Elif Ağatekin Bilecik Şeyh Edebali University Faculty of Fine Arts and Design, Department of Ceramics and Glass, Bilecik, elif.agatekin@bilecik.edu.tr Abstract Paul Scott is an internationally distinguished artist in the field of ceramics with his research on ―blue and white‖s, which are among the most important symbols of industrialization in ceramics sector in England. He is also known for his ceramics inspired by his research on these types of ceramics, his installations that go beyond the limits of design mentality and handiwork as well as his books, articles and the exhibitions he has curated so far. As a material-based conceptual artist, Scott has developed a startling language to voice his opinions about social issues. Blue-white dinner sets created thanks to his amazing ability in printing techniques look as if they were a canvas, and Scott uses kintsugi, a traditional and elegant method of repair, to patch up broken pieces of ceramics. Kintsugi is a method of mending developed by Japanese handicraft masters. It is also called ―golden stitch‖ and commonly used in today‘s world. Broken pieces of ceramics are patched up by using resin, and this area is covered by gold powder later on. Among many modern ceramic artists who create new pieces of ceramics by using this technique, Scott stands out because he has not only patched up broken pieces but also combined what is historical with the modern one by uniting broken pieces of ceramics and regenerating them. This article invites readers to meet the modern language Paul Scott has created to increase awareness about the problems of global world through ordinary ceramic plates regenerated by using Kintsugi technique. Keywords: Paul Scott, Kintsugi, Creative Repair, Antique, Ceramics, Defect Born in 1953 in Birmingham, Paul Scott now lives in Cumria, which is a county located in the Northwest of England, and creates his works of art in his private workshop there. One of the most beautiful regions in England, Cumbria is an industrial region and also a lake district where blue intermingles with green. Paul Scott is a studio potter, researcher, academician, author, curator and artist who produces his works of art under the trademark Cumbrian Blues. One of the factors that distinguishes Paul Scott from other artists and makes him an internationally recognized artist is his talents in research and writing. He has considerably contributed to international literature on ceramics because the perception he has developed by adopting a different point of view has been really influential in gradually altering a large number of ceramic artists‘ relationship with the material. Scott has written layouts for exhibition catalogues as well as book chapters, articles and 5 books, which are among the most outstanding writings in modern ceramic art and most of which are about blue-whites and printing techniques in ceramics. However, Paul‘s first book, which is titled Ceramics and Print and published in 1994, is believed to be the most popular one and also the one which has contributed the most to the development of ceramic art narration. In this book, Paul Scott writes about the history and development of ceramics and the printing techniques employed in the sector in the mid-1990s and presents a detailed literature by introducing different techniques used by modern ceramic artists in their works of art. This book has changed even the attitudes of people who tend to depreciate the use of printing techniques in ceramics and helped ceramic artists to unveil their creativity in their ceramic works of art that are produced by using printing techniques. Scott, in the Introduction section of the second edition of the book, emphasized the following point of view: the first edition of this little handbook has been credited by some as being a catalyst for the explorations along the way. (Scoot, 2002; 7). 149 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The development of printing techniques employed in ceramic industry has a long story. Indeed, impressive blue and white porcelains of the East have been a mystery to be solved by the Western civilization and also a topic of research leading to new inventions by attracting people‘s attention just like a jewelry people try to imitate does. The studies conducted with this high motivation facilitated the integration of new inventions into mass production processes during the post Industrial Revolution period. The development of transfer printing method in ceramics in England in 1750s triggered the attempts to imitate Chinese porcelains (Yılmaz, 2012:93). Thus, Chinese blue and whites became one of the most important symbols of industrialization of ceramics in England and blue-whites have gradually become an English symbol as much as they are the symbol of Chinese tradition. Transfer printing method on ceramic surfaces, which is pioneered by England, has been applied more than 270 years. This technique, which is depreciated by ceramic artists until 40 years ago, is now considered an indispensable method by many artists and employed as a technique in the production of new works of art. Based on these references, Paul Scott employs a startling language, which he has developed by using blue whites, while voicing his attitude towards social issues in his works of art. Blue and white ceramic dinner sets, which he transforms by using his great talent and experience in printing techniques, turn into a canvas, and kintsugi, which is a traditional and elegant Japanese mending technique he used while patching up broken ceramic pieces, is given a modern interpretation with the addition of unusual associations. Kintsugi (gold joining), or kintsukuroi (gold repair), is a Japanese repair technique that takes damaged or broken ceramic and turns into a new entity (Kemske, B 2012: 12). Since this technique is a practical application of wabi-sabi philosophy, it leads us to a respectful and appreciative acceptance of hardship and ageing (Kemske, B 2012: 12). Fractured objects are not worthless. After the broken pieces are patched up with resin, the cracks are filled with pure gold and details of the cracks become visible, so a vessel fixed by kintsugi will look more gorgeous, and more precious, than before it was fractured (Gopnik, 2009) and the story of the object‟s damage cannot be hidden anymore (Kemske B. 2021:12). Bonnie Kemske, in his book titled Kintsugi: The Poetic Mind, underlines a Japanese saying and says ―Everything that has a shape, breaks.”. She remarks that the topography of Japan is also full of cracks since it has experienced numerous disasters, losses and damages in its history and 90% of the earthquakes in the world occur on Pacific Fault Line (Durul, 2020). Being located on this dangerous zone has considerably contributed to the fact that Japanese are that much sophisticated in accepting their lives with the existing defects because the Japanese experience more than 1,500 earthquakes every year, with additional smaller tremors occurring daily (Kemske B. 2021: 17). They calmly, maturely and elegantly manage to cope even with tsunamis, floods and the risk of radiation leaks from nuclear plants. It should be kept in mind that 220.000 Japanese citizens immediately died when an atomic bomb was dropped in two cities at the end of Second World War. Therefore, Japanese people has developed a point of view and an aesthetical mentality that are remarkably different from other societies in terms of accepting the current situation as it is since they know that they can suddenly lose everything they have. For them, the objects that have a defect, missing pieces and a short lifespan might be really beautiful because only they look like the real world (Garcia, Miralles, 2017: 160). Pieces of potteries are like family members. They cannot be thrown away. In addition, they believe that kintsugi unites the past with the present while patching up the broken pieces of a bowl (Aiyar, 2016). Kintsugi appeared or at least became established in the late sixteenth or early seventeenth century (Kemske B. 2021: 12); however, it is difficult to determine an accurate date indicating when kintsugi spread to the world from Japan and became a part of modern art and handicraft. The interest in the technique is strongly related to the fact that it is the concrete version of ―feeling broken‖ and ―recovery‖, which are the feelings often experienced by human beings. Thanks to the spread of the internet worldwide, users started to share videos explaining wabi-sabi philosophy by giving references to kintsugi examples and through TED talks on YouTube and other video sharing websites and social media accounts, which contributed to the increasing popularity of the technique. Many people have been interested in this technique since the last decade, especially in Europe and the USA. Taking this demand as a business opportunity, private ceramic studios organized workshops, which increased the popularity of the technique even more. Later, do-it-yourself kintsugi kits were introduced into European and American markets. In addition, some companies produced ceramic glasses and dinner 150 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 sets on which a sort of kintsugi look is imitated. The kintsugi espresso cups designed by Yoko Ono for illy and the kintsugi dinner set designed by French artists Sarkis for Bernardaud are among some outstanding examples. Two significant exhibitions organized in 2008 might be considered as the first exhibitions where the works of art created by the first kintsugi technique users 2 were displayed. As soon as the practice of kintsugi began to take hold outside Japan, artists started to experiment with the technique, the materials and the concept. (Kemske B. 2021: 105). Kintsugi technique has impressively developed more than the pioneers of the technique might have imagined and predicted due to the rapidly increasing number of artists integrating this technique into modern art such as Bouke de Vries, Yee Sookyung, Claudia Clare and Paul Scott etc., higher number of exhibitions and the articles and books written by different researchers (Kemske B. 2021: 12). The interest of Paul Scott in mending and renovation, which allowed him to learn kintsugi technique, dates back to his experiences in Knossos archeological site in Crete. He has developed a modern version of kintsugi, which is now an indispensable technique in his practices, and applied it to ceramic plates that belong to different periods and civilizations (Lesser, 2018). He conducted his first studies on this topic when he joined Medalta‘s artist residency in 2011. In brief and concise terms, he added wind tribunes to Alberta‘s flat and dramatic sceneries, used the cracks of the plates as the skyline and completed the design by using kintsugi technique for the first time (Scott, 2015 a). In time, Scott started to use broken, cracked and waste materials and highlighted recent ethical, environmental and political isues in this century through digital manipulations involving antique, secondhand, found or bought blue and white plates (Ağatekin, 2018:924). The collages he created by patching up the ceramics of the past by using different techniques of the past narrates many touchy modern stories reflecting the nature of today‘s life. Figure 1. (Left), Paul Scott, Fukushima No:5, 2014, Front Figure 2. (Right), Paul Scott, Fukushima No:5, 2014, Back from: https://cumbrianblues.com/portfolio/page/3/ Paul Scott mostly tells about the places that were destroyed, divided and changed by wars and wrong policies through his ceramic plates, which he has mended and renovated by using kintsugi technique. In one of these plates, he calls people‘s attention to nuclear plants. Due to the tsunami followed by the Japanese 9.0 magnitude earthquake that occurred in 2011 killing more than 18.000 people, considerable amount of radiation leaked from Fukushima Nuclear Plant into the atmosphere. Knowing the consequences of such a leak from the incident of Chernobyl Nuclear Disaster, Paul Scott reinterpreted the leak in Fukushima Nuclear Plants in his work titled Fukushima No:5 by using a Japanese blue and white plate with a willow pattern on it and made in 1965. Paul bought this plate from eBay and it was already broken when he received it. (Figure 1-2) About 1970 Josiah Spode developed Willow pattern, which is a design for use on earthenware, coping painted river landscapes from Chinese export porcelain onto imitative earthernware body (Voile, 2015:27). First, Paul Scott erased the print of the broken piece where he wanted to place the wave, and later transferred blue and white wave pattern on these broken piece (Ağatekin, 2018: 924) which is a representation of Hokusai‟s The Great Wave off Kanagawa (Reynier, 2020) and adding the chimneys of a nuclear power plant in the background of the landscape. (Reynier, 2020). Finally, he 151 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 completed his collage by firing and later by using kintsugi technique. Through collage, erasure and printmaking, he turned Hokusai‟s Great Wave into a representation of the tidal wave that wrecked the power plant, and the conventional oriental Willow motif into a representation of the 2011 tsunami and the nuclear disaster that ensued in Japan (Reynier, 2020). With this plate, Paul Scott claims that such disasters cause immeasurable negative effects in societies leaving behind imperishable marks of recovery for a long time. Figure 3. (Left), Paul Scott, Three Gorges, After The Dam 2, 2009, Front Figure 4. (Right), Paul Scott, Three Gorges, After The Dam 2, 2009, Back from: https://www.oxfordceramics.com/artists/87-paul-scott/works/3094-paul-scott-scott-scumbrian-blue-s-three-gorges-after-the-dam-2009/ Scott also emphasized another issue that might cause an important environmental problem, which is the world‟s largest dam – Three Gorges Dam- built in China on Yangtze River (Scott, 2012). In his work called Three Gorges, After the Dam 2, Scott used a blue and white oval plate that belonged to Royal Worcester. Firstly, he erased the print of the lower part of the pattern on the surface and placed ―the rising water‖ on the plate. There is a tourist boat on the rising water, which now operates on the dam lake. Two birds, which are related to the fictional story depicted behind the willow pattern, were placed on the top left side of the plate. These birds symbolize two young lovers whose bodies turned into birds after they were murdered because their love was indecent (Ağatekin, 2018: 294). In addition, the so-called spirit of these birds represents the archeological and historical sites to remain under the dam lake, 1.3 million people who would have to move due to the construction, estimated environmental changes and the possibility of this debatable project to be an environmental disaster due to the increasing risk of landslides as well as the lives to be lost and the lands to be flooded in case of a collapse. The three pieces mended by using kintsugi technique look like the road through which the flooding water flows as displayed in simulation images of a possible collapse (Figure 3-4). Acknowledged as one of the most astute political commentators among studio ceramics (Whiting, 2021), Scott has produced many well-known works of art reflecting his political stands against historical and social events as well as the recent wars. Israel was founded in the central Mideast in 1948 and started wars with its neighboring countries almost one day later. It has extended its borders for 73 years since then. In 2014, Israel invaded Gaza killing tens of soldiers and civilians, most of whom were children, and completely destroying this exhausted and lonely city. In fact, Palestine was an image used on blue whites produced in 1800s with its legendary beauty and its exotic and sacred nature (Figure 5) 152 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 5. (Left) Palestinian-patterned transfer-printed plate of the 1840s Adams Company from: https://www.lot-art.com/auction-lots/19th-c-Adams-Palestine-platter-marked/456-19th_c12.9.20-greatgatsby Figure 6. (Right) Paul Scott, Palestine Gaza, 1840-2015 from: http://cumbrianblues.com/portfolio/palestine-syria-baghdad/ Paul Scott (Scott, 2016 a) used an antique plate produced by Adams Company in 1800s for 30-40 years and displaying the images of Palestine in a piece of work, which is called Palestine Gaza, from the series he created as a reaction to İsrael invasion in the summer of 2014 (Ağatekin, 2021:380,381). He updates the images depicting the old good days of Palestine, which he removed some or all from the surfaces of the plates, with today‘s massacre and destruction scenes (Scott, 2016 a) in order to show what today‘s Palestine looks like. The crack on the plate, which was a micro crack when it was bought, became bigger and wider after the second firing just like the problems faced by Palestine did. Scott applied kintsugi technique to this crack and filled it up with gold, with which he called people‘s attention to wealth acquired due to never ending wars and how arm dealers became rich (Scott, 2016 b) (Figure 6). Paul Scott narrated the stories that people experienced in such a chaotic region under the sky during the Syrian War in his work titled The Syria Series No 9, Aleppo, in which he places an aircraft in the sky in front of a ghostly romantic and classical building at the background among the burnt buildings and the ruins of minarets. The composition is divided into two with a golden line, which reminds us of a lightning strike. Scott reinterpreted this moment of lightning strike, which might change or destroy a life, by using kintsugi technique (Figure 7). Another plate he worked on in the series, which is called Palmyra, drawing our attention to a „technical‟, a converted pickup truck on the back of which is mounted a heavy machine gun (Kemske, 2021; 119). At the background of this scene is a figure among the smokes of the explosions and a ghostly classical building, and a man in a hood turns in the driver‟s seat to look at us (Kemske, 2021; 119) (Figure 8). Another plate prepared by Paul Scott for the series is called Damascus. He uses a Damascus patterned antique and a broken blue and white Edward and Enoch Wood plate dated to 1830s and leaving the devastation left by an attack in place (Kemske, 2021; 119) (Figure 9). Paul Scott brings the whole scene together by using kintsugi technique and questions what is lost by dividing the picture into two halves in the middle as if he wanted to show that how radical ideas and ideologies divide beautiful countries. 153 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 7. (Left) Paul Scott, The Syria Series No 9, Aleppo, 1844-2016 Figure 8. (Center) Paul Scott, The Syria Series No 10, Palmyra, 1870-2017 Figure 9. (Right) Paul Scott, The Syria Series No 8, Damascus, 1830-2017 from: Photograph:Ollie Hommick https://www.peeruk.org/paul-scott Paul Scott has been intensely working for the last 5 years on the blue and white plates sent to the USA from Stafforhshire in the 19th century within the scope of a project initiated by Ferrin Contemporary Arts Council England and financed by Alturas Foundation. The series called New American Scenery will be exhibited in Lucy Truman Aldrich Gallery between September 13 th 2019 and December 30th 2021 instead of traditionally exhibited porcelain works. In this series, Scott updates the scenes and pastoral sceneries that have industrial, cultural and historic importance into the postindustrial sceneries of the 21st century America. Scott simply takes the beautiful elements of nineteenth century English Staffordshire blue and white transferware originally brought into the United States as a popular means to convey “pictures” of record, and plugs in his own exemplary pictures: of nuclear plants; land despoiled by chemical pollution; portraits of disenfranchised people, innocent imprisoned people, estranged persons who have been ravaged by corporate greed; the border wall between Mexico and the United States; abandoned factories; or once accessible scenic environments. (Horton, 2019). The first example of kintsugi applied plates from New American Scenery series is Trumpian Campaigne, in which these ceramics reference President Trump‟s anti-immigration policies (Dahn, 2019: 12), the controversial barrier built as Trump‘s election campaign promise, racism-based hate crimes in the USA, disproportionate use of force and the protests triggered by George Floyd murder. He patched up the crack that divided the plate into two by using kintsugi technique in order to emphasize discrimination in polarized societies (Figure 10). Another plate from New American Scenery series is Residual Waste No. 4, in which Paul Scott displays a truck passing an oil refinery in Corpus Christi Texas. The crack has been filled with gold, „perhaps,‟ he comments, „representing all those oil companies making a mint whilst the very structure of the planet is fatally flawed by their greed (Wilding Cran Gallery, 2021) (Figure 11). Figure 10. (Left) Paul Scott, New American Scenery, Trumpian Campaigne, 2021 from: https://www.oxfordceramics.com/exhibitions/23/works/artworks-3645-paul-scott-cumbrian-blue-snew-american-scenery-across-the-borderline-2020/ Figure 11. (Right) Paul Scott, New American Scenery, Residual Waste No. 4, 1850-2017 from: https://ferrincontemporary.com/portfolio/paul-scott-at-wilding-cran-gallery-los-angelesca/37999_scott-paul_scotts-cumbrian-blues_new-american-scenery_residual-waste-no4_2019_fcg_9934_72dpi// The last and the most outstanding example of the series called New American Scenery is the ground-shaking triptych created by Paul Scott by using the pieces of memory plates of New York Battery Park, which played important roles in American History (Figure 12). Instead of patching up these three pieces, Scott placed them in clean and white plates by using golden stitches of kintsugi technique and recovered them by giving them a new body and a new life. By doing so, he elevated them from a worthless piece of broken ceramics into a work of art exhibited in museums. 154 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 12. Paul Scott, New York Battery Park Triptych, Fragmented Enoch Wood & Sons New York Battery Park plate, 1840, 2016 and 2019 from: https://ferrincontemporary.com/paul-scott-new-american-scenery/#jp-carousel-14609 Feeling worthless is a familiar feeling for many people, which is quite related to ―feeling brokenhearted‖. These familiar feelings for human beings are daily and usual experiences for ceramic pieces in the concrete world. Ceramic pieces are also broken, get older, crack and are labelled as ―defect‖ like human beings. The acceptance of defects is believed to be the first step of recovery and patching up and accepting the scars is the second step. In all the plates Paul Scott has mended by using an old Japanese repair technique, the defects were accepted, patching up and combining processes were completed and the new look of scars was used as the most striking effect in narrations. This effect, which Paul Scott tries to reflect in broken plates mended by using kintsugi technique, is what all humans living with broken hearts, in fractured countries and lands and carelessly consumed natural resources need in order to recover, restart and restore. REFERENCES Ağatekin, E. (2018), Çağdaş Seramik Sanatında Mavi Beyaz Tabaklar, İdil Sanat ve Dil Dergisi, cilt 7, sayı 48, 919-930 Ağatekin, E. (2021). 21.yy. Seramik Sanatında Yeni Arayışlar: İleri Dönüşüm Eğilimi, Virüs Üç Aylık Kültür-Sanat ve Edebiyat Ortak Kitabı, Sayı 6, s.362-382 Aiyar, P.(2016). A Japanese ceramic repair technique teaches us to embrace our scars, Erişim: https://asia.nikkei.com/NAR/Articles/A-Japanese-ceramic-repair-technique-teaches-us-to-embrace-ourscars, Erişim Tarihi: 06.04.2021 Dahn, J. (2019) On the Threshold Paul Scott, New American Scenery, Erişim: https://ferrincontemporary.com/wp-content/uploads/2020/04/On-The-Threshold-Paul-Scott-NewAmerican-Scenery-by-Jo-Dahn.pdf Erişim Tarihi:10.04.2021 Durul T. (2020) Depremlerin ağırlık merkezi 'Pasifik Ateş Çemberi' https://www.aa.com.tr/tr/dunya/depremlerin-agirlik-merkezi-pasifik-ates-cemberi/1750477 Tarihi: 08.04.2021 Erişim: Erişim Garcia, H., Miralles, F. (2017), Ikigai-Japonların Uzun ve Mutlu Yaşam Sırrı, İndigo Kitap, İstanbul Gopnik B. (2009). Golden Seams: The Japanese Art of Mending, Erişim: http://www.washingtonpost.com/wp-dyn/content/article/2009/03/02/AR2009030202723.html, Erişim Tarihi: 09.04.2021 Horton L. (2019). Paul Scott‟s Valuable Lessons, Erişim: http://www.arteidolia.com/paul-scottsvaluable-lessons/i Erişim Tarihi: 09.04.2021 Kemske B. (2021). Kintsugi: The Poetic Mend, Bloomsbury Publishing 155 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Lesser, C. (2018). The Centuries-Old Japanese Tradition of Mending Broken Ceramics with Gold, Artsy, Erişim: https://www.artsy.net/article/artsy-editorial-centuries-old-japanese-tradition-mendingbroken-ceramics-gold, Erişim Tarihi: 21.06.2021 Reynier C. (2020). The Exceptional Grandeur of Small Objects: Paul Scott‟s Ceramics, Polysèmes, Erişim: http://journals.openedition.org/polysemes/8177 Erişim Tarihi:09.04.2021 Scott, P. (2002). Ceramics and Print ,Second Edition A&B Black Publishers Scott, P. (2012). Three Gorges, After the Dam 3, Erişim: http://cumbrianblues.com/wpcontent/uploads/2017/05/6.3gorgesInk_d.pdf, Erişim Tarihi: 10.04.2021 Scott, P. (2015 a). Scott‟s Cumbrian Blue(s) and RE, Re-animate, Repair, Meld and Mend, Erişim: http://cumbrianblues.com/wp-content/uploads/2017/05/11.CBsREblurb.pdf, Erişim Tarihi: 11.04.2021 Scott, P. (2016 a). Background to Cumbrian Blue(s) WMD, Bombs Over Baghdad and Gaza series, Erişim: http://cumbrianblues.com/wp-content/uploads/2017/05/25.WMDBOBGaza.pdf, Erişim Tarihi: 11.04.2021 Scott, P. (2016 b). Unconventional Clay: Engaged in Change, The Nelson-Atkins Museum of Art, Erişim: https://www.youtube.com/watch?v=SjDkYdNPlM8, Erişim Tarihi: 13.04.2021 Voile, P. (2015). True Blue: Exploring the Myths of the Blue-and-White Tradition, HORIZON Transferware and Contemporary Ceramics, Paul Scott (eds.), Arnoldsche Art Publishers, Kranj. Whiting D. (2021). Paul Scott, scott/overview/, Erişim Tarihi:02.04.2021 Erişim: https://www.oxfordceramics.com/artists/87-paul- Wilding Cran Gallery, (2021). Fran Siegel and Paul Scott | Seam & Transfer, Erişim: https://show.inventory.gallery/seam%26transfer?docKey=ypcwi1&installation=bottom&priceKey=wb viuz, Erişim Tarihi: 12.04.2021 Yılmaz, Ersoy. (2012) Seramik ve Transfer Baskı: 1750-1900, Gazi Üniversitesi Güzel Sanatlar Fakültesi Sanat ve Tasarım Dergisi (10), (93-111), 2012. 156 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The Reflection of Form in a Musical Art Work to the Aesthetic Dimension from a Structural Point af View: Fractal Forms Kutup Ata Tuncer Kafkas University State Conservatory, Traditional Turkish Music, Kars/Turkey kutupatatuncer@gmail.com Abstract Each work that has been brought into the art of music achieves its artistic value with an "aesthetic" dimension with many features. An artistic work can be defined as a different product in every period or every culture. It can also be a sacred product of tradition culturally; it is also a commodified object of the modern world. From both points of view, a work of art is a work in which human labor is involved and concrete objects are shaped with abstract concepts. But; The evaluation of a work within the art discipline is examined in more depth. In particular, the work of art or musical work in the relationship of self-form, the product that has become a form by the processing of all artistic material; subject + object = evaluated according to the state of the link between information / work / product. For example, a musical work is examined over the relationship between the performance and the work in terms of the effect it leaves on the listener, or the form / structure state between the form of the work and the period it is connected to. From another point of view, structure, a term that is widely used especially in the field of architecture, reveals different implications in the art of music. In this study, it was determined that different perceptions could occur between the form and aesthetic identity of the work and it was observed that especially complex structures defined as "fractal" exist. The study was prepared by document analysis, one of the qualitative research methods, due to the examination of the studies conducted on the subject throughout the study and the analysis and findings made on the researches in these studies. Keywords: Musical Form, Structure, Aesthetic Perception, Fractal Forms. Introduction In the concept of art, the term aesthetics has been used since the middle of the 18th century and İt was introduced by the German philosopher A. G. Baumgarten to indicate a new field studied by philosophy (Kağan, 1974/2008). The concept of aesthetics develops as a reflection of the phenomena and events experienced by human beings in cognitive processes in the world of mind such as sensation, perception and emotion. Therefore, every perception acquired by a person from the time of birth can be shaped as an aesthetic judgment of the future. Therefore, it can be said that aesthetic attitude is an attitude based on sensory basis (Tunali, 2012). The etymology of the word is based on the word "aisthesis" in Ancient Greek and it means comprehension through sense (Tunali, 2012). Even though the etymological definition dates back to ancient times, it is the empiricist thinkers of the 18th century, who like the beginning of the article, put the concept of sense as the basis of their teachings and developed it as a basic concept for future aesthetic studies. The breakthroughs that started with the Renaissance period, when art was re-enlightened, showed a philosophical development with the development of art branches; and as a result, the concepts of the ancient period were re-examined. In aesthetic processes, it is an important situation how the relationship between the human and the work defined as a work of art is perceived. Here, the aesthetic subject can be mentioned. The concept of aesthetic subject expresses a subjectivist meaning and falls within the field of psychological aesthetics. Therefore, İt İs mentioned here how this artistic work is received in the human mind rather than the art object. Generally, the subject is understood as an element of knowledge, according to Tunali (2012) and knowledge is the beginning of the formation of different comments, feelings and judgments about how it is perceived in the human mind as an explanation of perception. The real situation is how this 157 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 world of knowledge and perceptions reflects on the emotional gaze. In an aesthetic attitude, the aesthetic object interacts with the subject who receives it, and an emotional bond forms between them over time (Tunalt, 2012). This may lead to a situation far from an objective interpretation of the object or in other words, the artistic work. In both respects, it can be said that the perceptual and emotional state between the object and the subject is above a certain average when considered from an aesthetic point of view and is based on the proportional and mathematical harmony of the qualities of the artistic work in terms of the human mind. According to Tunalı (2012) the relationship between the aesthetic object and the subject who attributes value to it explains an application defined as an aesthetic value analysis. Therefore, the form of the artistic work and how the human receives it is important here. The aesthetic perception of musical works, which is also the subject of this study, is taken to a different dimension, especially with the examination of composition structures, regarding the form of the work and what kind of effect it has on the listener. Musical Reception Reception in music is related to the fact that certain sensory qualities form a determinant field on human beings at the stage of constructing both the music s form and the type of music. For example, when listening to music, is it a cultural perception or an awareness of a musical material that constitutes the reception? The answer to these emerges from studies of how music is interpreted in the human brain. For example, the part that provides emotional responses to music is the part of the brain called Cerebellar Vermiş and Amygdala (Belgin & Şahlı, 2017). Likewise, the part that enables this music to be recognized in the brain and therefore a familiar music to be listened to is the part called the Frontal Lobe and Hippocampus (Belgin & Şahlı, 2017). However, rhythm, harmony, melody and other elements that are components of music also provide activation in some parts of the brain. As can be seen, when this situation is approached physiologically, the human brain plays a leading role in the reception of music. However, when this situation is interpreted from an art perspective, again the behavior of the brain, but the factors by which the definitions get deeper come to the fore. According to Manav and Nemutlu (2011), a technical framework can be created for the reception of music. These; It is about the modes of existence of music, its linguistic construct, and its features such as form and structure. Music as a mode of existence is especially important as "music that resonates in the mind of the recipient. First of all, the music that exists in the composers imagination is a phenomenon that has turned into a sound in the listener, regardless of the note (Manav & Nemutlu, 2011). Therefore, what creates an alliance between the composer and the listener is the processes such as imagination, memory, mind, which will form the basis of the aesthetic approach in the future. How this music occupies a place in the mind in the reception of a music is the space and volume that is called space and created abstractly for music. The volumetric and spatial setup of a music is the description of the formal structure of the music. When the human brain imagines a concerto formally, it makes inferences about what place this music occupies in his mind and brain. Likewise, nuance (loudness), timber and other textural features of musk: are also determining factors. Therefore, this musical feature, which we call form (music form), where all this graphic is created, plays an important role in the reception of music and gaining an aesthetic dimension. Form and Structure in Music Form is formed as a result of providing an aesthetic sound integrity by bringing together the building blocks in music. With this integrity, the form creates a composition model by adding structure features to a musical work (Say, 2002). In general definition, it is a construction plan that the composer has shaped according to mental regulation principles to reflect a certain musical content and designed in connection with the traditions and experiences in this field (Say, 2002). In this construction plan, it is a number of sections such as motif, sentence and cadence that especially reveal the form. Although elements such as tempo, chord structures and decoration are important elements that make up this structure, the elements that shape the musical work in terms of texture, therefore the elements that make up the pattern, are materials such as motifs and sentences. Elements such as cadence and chord structures that make up the vertical structured layers in music take the form of patterns or knitting together with the motifs and musical phrases that form the horizontal formations in music. Structure, which is one of the subject concepts of this study, is one of the terms that can be encountered both in the field of architecture and in the field of music and has an important place especially in modern music analysis. Structure is the name given to the coexistence of related parts in an object or system. In other words, the carrier system. For example, they are basic structures created with materials such as 158 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 construction, steel and concrete. This definition can be explained as cadence, texture and chords in music. Likewise, the structure can be defined as the system that transfers the weight of the building to the ground in architecture and ensures that all the elements within the structure remain together and physically in balance. As such, its counterpart in music can be described in response to musical movements such as alberti bass or stepped bass marches. Structure is handled from two aspects in architecture: 1-) Natural structure 2-) Architectural Structure. Natural structures appear together with complex forms apart from simple forms, and when looking at nature, the forms and assembly systems of the units that make up the structure arise from a functional necessity. This may lead to the hypothesis that the structure can also occur with a physical requirement. Below are examples of natural structure: 1. Example: Ihlara Valley Natural Structure Example. https://hbogm.meb.gov.tr/modulerprogramlar/kursporgramlari/grafik/mbs/struktur.pdf On the other hand, the structure has begun to be explained together in architecture with the basic building blocks of form, space and material since the 1950s (Alp, 2020). As mentioned in the previous explanations, the architectural structure is the system that transfers the weight of the building to the ground and ensures that all the elements within the structure remain together and physically in balance. Below are examples of architectural structure: 2. Example: Architectural Structure Example. 159 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 https://www.mimarizm.com/haberler/gundem/guve-agi-benzeri-karbon-fiber-struktur_128164 In music, the infrastructure that holds together the components of the musical product consisting of different sounds; It can be defined as an organization that can make these voices readable and understandable and capable of fulfilling its function (özer, 2018). For more than half a century, many composers have been trying to expand the scope of music through mathematical and parametric methods. For example, lannis Xenakis is committed to the fact that the value of the musical form in his work includes known mathematical and physical statistical ratios. These methods, which also define the randomness of musical structure, were published in his first book "Musiques Formelles" (Korkut, 2011). The relationship between rhythm, melody, and harmony is the basis of music, which itself constitutes a novel. This fiction is understandable when examining the entire work and forming the structure of the work (Korkut, 2011). However, different structural structures in music are determined by "fractal" structures, based on the results of the researches. In music, the infrastructure that holds together the components of the musical product consisting of different sounds; It can be defined as an organization that can make these voices readable and understandable and capable of functioning (Özer, 2018). Purpose of this Study The aim of this study is to reveal the reseach methods and types whether/rocto/ structures are used in terms of form in musical works through scientific studies. Method of this Study The study was prepared by document analysis, one of the qualitative research methods due to the analysis of the findings. Fractal Structures in Music Structural structures in music are determined by "fractal" structures, based on the results of the researches. In music, the infrastructure that holds together the components of the musical product consisting of different sounds; It can be defined as an organization that can make these voices readable and understandable and capable of functioning (Özer, 2018). Fractal; In mathematics, it is the common name of complex geometric shapes that often resemble themselves or show fractional fracture. It is disproportionate, iterative, and can not be mathematically measured by simple operations. It is very different from simple shapes such as a square, circle, or sphere. The term fractal is derived from the Latin word "fractus" meaning fragmented or broken. While not all fractals are self-similar, or at least not entirely self-similar, most have this property. The concept was first proposed by Polish-born mathematician Benoit B. Mandelbrot in 1975 (Özer, 2018). Below are examples of fractal structures: 160 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 3. Example: Fractal Example. https://tr.pinterest.com/pin/550916966910629341/ 4. Example: Fractal Example. https://tr.pinterest.com/pin/65794844532240567/ Findings The following results have been revealed in four different study types about fractal structures in music: 1. Study Type: 161 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 5. Example: Classical music analysing method for fractal structures on Bach's Suite No. 3. http://mathtourist.blogspot.com/2008/09/fractal-in-bachs-cello-suite.html 2. Study Type: 6. Example: Graphical music analysing method for fractal structures on analysis of a piece of music from a color-theory class with vasily kandinsky_1930. https://tr.pinterest.com/pin/561472278526718219/ 3. Study Type: 162 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 7. Example: Statistically music analysing method for fractal structures research on music species. Zhi-Yuan, S. & Tzuyin W. (2007). 4. Study Type: 163 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 8. Example: Mathematically music analysing method for fractal structures on sound analysis. Bigerelle, M. & Lost, A. (2000). Conclusion  Classical form analysis, statistical method, mathematteal analysis and sound frequency analysis methods are generally used as methods in music research on fractal structure.  As different genres are used in determining fractal structures, especially the works of Bach. Mozart and Beethoven have been studied.  Composers unconsciously used fractal structures in relation to the nature of music.  Studies on the analysis of fractal structures are mostly observed in academic research studies other than music education analysis methods.  Studies on "structural" structures in the field of visual arts appear with more "graphic notation" in the 20th century music field. Therefore, examining the existence of fractal structures İn the field of music is mostly achieved by graphic analysis methods.  Since fractal structures may be seen especially in traditional and modal music, it can be suggested to examine this type of music. References Alp, S. (2020). Boşluk, form ve malzeme çerçevesinde heykelde mimari, mimaride heykel eğilimleri. İnönü Üniversitesi Kültür ve Sanat Dergisi, 6 (2), 86-99. Belgin, E. ve Sahil, S. (2017). Temel odyoloji. Ankara: Güneş Tıp Kitabevleri. Bigerelle, M. & lost, A. (2000). Fractal dimension and classification of music. Chaos, Solitions & Fractal, Volume 11, Issue 14, p. 2179-2192. Kağan, S. M. (2008). Estetik ve sanat notları. (Çalışlar A., Çev.) Izmir: Karakalem Kitabevi. (Orijinal eserin yayın tarihi: 1974). Korkut, M. C. Y. (2011). Müzik ve mimarlık İlişkisinde etkileşimli bir parametrik model (Yüksek Lisans tezi). Manav, Ö. ve Nemutlu, M. (2011). Müzikte alımlama. Istanbul: Pan Yayıncılık. Özer, Ö. S. Mimari ve müzikte form, fonksiyon, strüktür [PDF belgesi]. Mimarlık Araştırmaları Website:15Mayıs2021tarihindehttps://ozgursavasozer.blogspot.com/2018/02/evrende-varolantum-madde-ve-kavramlarn.html?view=sidebar adresinden erişildi. Say, A. (2002). Müzik sözlüğü. Ankara: Müzik Ansiklopedisi Yayınları. Tunalı, i. (2012). Estetik (14. bs.) İstanbul: Remzi Kitabevi. Zhi-Yuan, S. & Tzuyin W. (2007). Music walk, fractal geometry in music. Physica A: Statistical Mechanics and its Applications, Volume (380), p. 418-428. 164 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Internet Sources https://hbogm.meb.gov.tr/modulerprogramlar/kursporgramlari/grafik/mbs/struktur.pdf https://www.mimarizm.com/haberler/gundem/guve-agi-benzeri-karbon-fiber struktur_128164 https://tr.pinterest.com/pin/550916966910629341/ https://tr.pinterest.com/pin/65794844532240567/ http://mathtourist.blogspot.com/2008/09/fractal-in-bachs-cello-suite.html https://tr.pinterest.com/pin/561472278526718219/ 165 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Sandro Botticelli’s La Primavera (Allegory Of Spring) Examination and Ezotheric Interpretation Oya Cansu Demirkale Kukuoğlu Samsun University, Corporate Communications Office Of The Rectorate, Samsun, Turkey ocdemirkale@hotmail.com Abstract Works of Art provide information about the sociological, psychological, political and economic structure of that period by shedding light on the period in which it was located. Because of this, the works of art reflect the reality of the period in which they were located and constitute the visual sources of that period. 15th century Europe was under the influence of a regular political structure, the church, a Church in which wealthy families had a say, forbidding the free thinking environment and people could not express their thoughts. But with the birth of the Renaissance, the influence of the church decreased, and the environment of Free Thought began to manifest itself. During this period, the healing power of art came into play, people quickly got rid of outdated thoughts, and instead the artist who harbored the essence of man got an artistic identity. 15th century artist Sandro Botticelli tried to express his works with mythological heroes by using the power of art in his paintings. The aim of this study is that Botticelli's painting ―Allegory Of Spring‖ contains mythological figures in contrast to the usual religious-themed period paintings and the figures expressed using the power of art are examined in esoteric context. In this regard, the ―Allegory Of Spring‖ table is examined in the form of the mythological figures described in front of us in the form of the state of natural forces dressed in the body and the depiction of the body with natural images. By using semiotic solutions, the work created a framework based on the field, evaluating mythological heroes and these heroes through esoteric symbols. In this context, the data obtained by field type scanning was carried out by qualitative research method. Anahtar Kelimeler: Allegory Of Spring, Botticelli, Semiotics, Esoteric Interpretation Introduction Works of art are shaped from the point of view of the time in which they were produced and found. One of the most important elements to consider when examining works of art is to know the characteristics of the period in which it was found (Ersoydan, 2012:31). Because his understanding of art was influenced by the social developments of the period in which he was present, it is believed that the events that took place had significant effects on the artist. For this reason, as in other periods, art was influenced by social and social developments in the Renaissance period. Renaissance means the rebirth of art and literature in Italy between the 14th and 16th centuries. Studies in the field of sculpture, painting and architecture started to gain artistic characteristics with the Renaissance and became important (Atasoy and Tükel, 2011: 14-15). Artists are now allowed to rediscover their past and find unique methods (Erciş, 2015: 4). Subjects in Renaissance paintings consist of religion, historical stories and mythologies. In order to be able to depict these stories, portraits and figures began to come to the fore, and the artist tried to reflect his narrative through the figure. The expression of nature and the human body as a whole is one of the important elements of the Renaissance process. During the Renaissance, people whose knowledge and thought went outside the church now began to question life. (Şenyapılı, 2004: 22). With this process of change, people who are aware of their power, self-confidence, understand the beauty of the world, show the joy of life, feel that they are in contact with the past, have made new pursuits using the healing power of art. 166 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Mythology is all legends and stories about the actions of the gods in religion, their relationship with humans and other living things. (Sözen and Tanyeli, 1992: 163). Mythology consists of Legends aimed at explaining the natural events of people living in ancient times, the formation of the universe, and questions that people are interested in, such as fatalism. During this period, subjects originating from mythology were quickly addressed by artists and often used in an allegorical function. For the most part, issues such as a political stance, a didactic message or a spiritual send-off are transmitted to the opposite side along with the works. In this context, deciphering the mythological subjects used in the works depends on a certain level of sophistication. The aim of this study, Botticelli's ―Allegory Of Spring‖ contains mythological characters, unlike the usual religious-themed period paintings, and examines the characters expressed using the power of Art against a mythological and esoteric background. Famous artists of the period, one of Sandro Botticelli allegory in a lot of his paintings by combining knowledgeable viewers a visual narrative art, and standing figures and symbols as Inappropriate by combining seemingly reveals a different meaning. SANDRO BOTTICELLI His real name is Allesandro Di Mariano Filipepi, who was born in Florence in 1445 and is the fourth son of Mariano di Vanni Filipepi, an Early Renaissance painter who was a leather trader in Ognissanti near Florence (Grömling, Lingesleben, 1998: 6). It is recognized that he brought the Renaissance spirit to the level of modern humanity with his paintings ―Allegory Of Spring‖ and ―Birth of Venus". Botticelli, who founded his own workshop in 1470, continued his work alongside the Medici family (Yılmaz,2011: 1). Between 1445 and 1510, Sandro Botticelli tries to reflect the characteristics of the Renaissance period and the understanding of art of that period in a mythological sense. Although he made his first period paintings on order, he adhered to his own thoughts in his later works and created works with an esoteric / mystical point of view. At the same time, Boticelli's interest in mythology began when he read the works of Homer and Ovid. According to Eco, the Medici family, which has a say in the administration of Florence, resorts to myths to raise the divinity and power attributed to nature. In this sense, the works produced can be taken from the heavens and spread in an earthly sense by human hands and through art (Eco, 2016: 184). This situation has a significant influence on Botticelli's understanding of art. LA PRİMAVERA (ALLEGORY OF SPRING) COMMENTARY His work Allegory Of Spring, which he made in 1482, was ordered in 1482 as a wedding gift of the Medici Family to a newly married couple. The "Allegory Of Spring", which is Botticelli's work that can be a symbol for both the Renaissance and the period he lived in, shows the artist's understanding of art and its feature very well. Figure 1. Spring‖, Tempera on Uffizi, Florence, Sandro Botticelli, ―Allegory Of Poplar, 203x314 cm, 1478, Italy In Spring, Venus, the goddess of love, is located among the orange trees, and her son, Cupid Eros, throws an arrow just above her head. Other figures found in the work include The Wind God Zephyros, Chloris and Flora right next to Zephyros, the three beauties (kharites) to the left of Venus, and the messenger god Mercurius to the far left of the painting. Sandro Botticelli tried to express the garden of the work, inspired by the poem about Venus by Angelo Poliziano, the Palace poet of the Medici, when describing the garden (Schaeffner, 1968:43). Zephyros, Chloris and Flora allegorically symbolize the coming of spring, while the Kharites (the three beauties) celebrate 167 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 the coming of spring. (Öndin, 2016: 201.) The arrival of spring with the transformation of Chloris into Flora is shown through flowers. Figure 2. Eros (Detail) Venus is placed between the orange trees located in the middle of the table and Eros, standing between the orange trees located just above her head, throws love arrows. The reason why Eros is blindfolded by a bond is because it contains a message that love is bound because its eye is blind. In his comedy play A Midsummer Night's Dream, William Shakespeare stated that he looked with a mind, not with transcendent eyes, and therefore Eros was portrayed blind. In addition, the depiction of Eros with his eyes tied is meant to emphasize that we should perceive beauty not with the eyes, but with the heart (Çalka, 2017). Figure 3. Venüs (Detail) The figure known as Venus in Greek mythology is located in the middle of the work. Venus is wearing a long, attractive dress and tilts her head slightly to the right. The orange shawl, symbolizing the Medici family, is placed on the ground from the right shoulder to the arm, and then with the left hand to the legs. The concept of youth and spring, which Venus represents here, brings a lively spring atmosphere to this table. The arch-shaped surround of the leaves behind her head makes Venus look like Mary. It is stated that Venus represents Mary by forming an arch with the leaves of an orange tree. In addition, a swollen picture of Venus ' abdomen indicates that Gabriel announced to Mary that she would become pregnant with the great savior (Altaş, 2017). Figure 4. Zephyros and Flora/Chloris (Detail) Looking at the right part of the picture, three different figures are pictured. These are Flora, which heralds the arrival of spring, located on the left side, Chloris in the middle, and Zephyros, the God of wind. Botticelli was influenced by The Metamorphosis of Ovidius, the Roman poet, in this painting and depicted these three figures in this way. In a book written by Ovidius, he describes the beginning of spring as taking place when Chloris turned into Flora. In the work, it is stated that Zephyros chased after Chloris and wanted to marry him, but Chloris tried to 168 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 escape this marriage. Chloris, who was trying to escape, was caught by Zephyros, and when he started screaming in fear, flowers came out of his mouth, which was a harbinger of spring, instead of sound. At the end of the book, it is stated that Chloris married Zephyros and that the couple would live together in eternal spring. Chloris emphasizes the arrival of spring by saying the phrase ―Now My Name is Flora." Chloris says that when he says this, flowers fall out of his mouth and he says that it has now turned into spring. Chloris, who turned into spring after marriage, has now turned into flora so that flowers appear on his body and he tries to collect them by hand and collect them in his skirt (İşçi, 2020). Botticelli tried to use different flowers during his work. When using these flowers, he took advantage of real flowers and made sure that each one was in different patterns and forms. Figure 5. Khariss and Hermes (Detail) Another important element of the painting is that the three beauties on the left are seen celebrating the arrival of spring. These three beauties, daughters of Zeus and Eurynome, are called "Kharites" in mythology. Kharis are also thought to be related to "kharis", which means glitter, sparkle and beauty, as they symbolize goddesses that are pleasing to the eye. Three beauties, Aglaie is the youngest of the Kharites, which means shine. Euphrosyne expresses joy, joy and Thalia youth and freshness. These bright, cute and young goddesses, who also appear in different works of art, are depicted first in long dresses and floral crowns, then in transparent and elegant clothes. In this work, it is stated that they both embrace and are in a triple loop (Çalka, 2017). Botticelli was inspired by Piero Valeriano's hieroglyphic work, which dealt with the three beauties from the side, front and back. In this work, he emphasizes that if you do a favor to someone, you should do this favor without showing off, and so he hides his beautiful face. He shows his other beautiful face, which is because when a person sees kindness, he should tell everyone about it. It shows one side of its other beautiful face and hides the other side, which means that when we see good, what is good should be hidden, but we should be told that we see good (Çalka, 2017). In the left part of the work is Hermes. Hermes points to a place with his right hand. Sandro Botticelli here was influenced by a poem by the poet Poliziano. He replaces Hermes with his protective image in the poem and assigns him as the guardian of this garden, an intermediary between God and people (Çalka, 2017). Botticelli meticulously embroidered every character in spring painting to create a composition that could inspire us, and created a composition whose flowers illuminate us even on a black background. Although he created works far beyond his time with delicate lines and elegant brushwork, he is now known as a line Master and is a master who has maintained his unique style to this day. ESOTERIC INTERPRETATION ALLEGORY OF SPRİNG (LA PRIMAVERA) Looking at the esoteric interpretation Allegory Of Spring (La Primavera), the work is divided into two parts by the Center directed by Venus. We can see that Zephyros, a representation of the wind, pictured on the far right, is trying to catch Chloris, the water nymph who scatters flowers. This wind refers to the power of "Love", which pushes the flower to give life and uses the energy of the wind to turn it into a flower, that is, beauty. The spirit of Zephyros is equivalent to the world represented by the garden (Yeni Yüksektepe Magazine, 2017). According to antikyunan mythology, the wind is often referred to as love, kidnapping and married couples. Here 169 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Venus, goddess of love, and Zephyros, God of the West Wind, highlight the themes of spring and love (Moya, 1998: 211). The meaning of the name Cloris is a symbol of pure tin and comes from white. Tin is an intangible being, used to explain the essence, foundation, or creator of the entire universe. Cloris is also a symbol of the winter cold. Because the "soul" is trapped in the body, the seeds are captured by the winter soil. Spring is pictured as Floris. It has the same spirit, but is now flowering and dispersing its flowers from excessive abundance. Here, Floris represents the human soul awakened to the spiritual World (Yeni Yüksektepe Dergisi, 2017). The second half of the painting features three beauties blessed by Venus. Venus is located at a central point in the middle part of the work that governs the past, present and future. The place where Venus stands is referred to in the Bible as the tree of good and evil. He is the eye of all things. Venus governs certain things with a mystical view and shapes them according to everyone's level of consciousness and needs. Of the three beauties, the aglair beauty on the right, the Euphrosyne chastity in the middle and The Thalia on the left express pleasure. Pleasure and chastity are combined with beauty, because each incorporates their beauty into their own plan of action. In this sense, beauty is considered a form of happiness, combined with mystical elements in moral form. In the picture, Thalia looks only at Aglaira, where the Beautiful has a form of pleasure, and this refers to one of the possibilities that Venus gives to the spirit of spring. Chastity, or Euphrosyne, is also beautiful, but a blind Eros from the sky aims at him with a flaming arrow. As Eros Hesiodos said, he is the oldest of the gods. He is the great power that makes everything start to move itself. Euphrosyne, who flares with this power of love, turns her back on chastity to the world and turns her eyes to the god Hermes, Mercury, the Lord of wisdom. Euphrosyne's (chaste) blossoming spirit will not accept the joy of spring. Because he will choose the one who reveals it and the one who will carry it to wisdom (Yeni Yüksektepe Dergisi, 2017). Summary During the Renaissance, artists began to express their works more freely as a result of the influence of the church on society and its declining pressure. In addition, innovations in painting, sculpture and architecture added value to the artists and enabled them to express themselves better by using the healing power of art. In this environment of freedom, artists have included many secret distinctions on their canvases. Botticelli work included mythological and esoteric meanings. Venus, with its dazzling beauty, is at the center of one of the most important works of the Renaissance and stands as a symbol of beauty. Venus is not only a beautiful goddess, but also a goddess of fertility and life. He welcomes this new life brought by spring and divides the work in two by the position in which it stands. On the left side of the painting, the composition is more magnificent, but on the right side it is much more dynamic. In this regard, the fact that the scene on the left is stationary and the scene on the right is active is a contrast in the work. Botticelli's work constitutes elements of the retransmission of God's power to nature. This is seen as a powerful return of the power struggle of the powers in Florence. They provided the Medici family with an interpretation of the meaning of the symbols in the work from their point of view. The values of the Christian era, the meaning of the understanding of beauty with mythological expressions, burden the emitter of the Medici family's system of Thought on the works. They celebrate their divinity with an esoteric view of the rebirth of Medici power. In the work of Allegory of Spring examined in this study, Boticelli adds sub-meanings to the figures he handles indirectly instead of direct expression, causing his work to gain a different dimension. During this period, Botticelli enriches his understanding of Narrative Art by using descriptions of symbols and connotations in his paintings, without painting his work in the way he wants. This work, which has mythological and esoteric analyzes, has benefited from the icons and esoteric meanings of mythological heroes to describe the spring in which it is the subject in the most effective way. He blessed the spring by painting the heroes with their situation. References Altaş, A. (2017). Sandro Botticelli‟nin “La Primavera”. Access https://resimbiterken.wordpress.com/2014/08/07/sandro-botticellinin-la-primavera-eseri/#respond address: Atasoy, N. ve Tükel, U. (2011). Grafik ve Fotoğraf Batı Sanatı Tarihi, İtalya‟da Rönesans Sanatı, Ankara: Milli Eğitim Bakanlığı. Burke, P. (2000). Rönesans. Çev., Ö. Akpınar, İstanbul: Babil Yayınları. 170 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Çalka, M. (2017). Botticelli ve İlkbahar https://www.tarihlisanat.com/botticelli-ilkbahar-tablosu/ Tablosu – La Primavera. Access address: Eco, U. (2016). Güzelliğin Tarihi, Çev., Akkoyunlu, A. C., İstanbul. Erciş, M.A.D. (2015), Rönesanstan 20.Yüzyıla Kadar Resim Sanatında Anıtsal Görünümler, Yayınlanmamış yüksek lisans tezi, Atatürk Üniversitesi, Erzurum. Ersoydan, M. Y. (2012). Tarihsel Süreçte Batı Toplumunda Sosyolojik Olgular ve Sanatçı. 21. Yüzyılda Eğitim Ve Toplum Eğitim Bilimleri ve Sosyal Araştırmalar Dergisi, 1(3), 31-39. Grömling, A., & Lingesleben, T. (1998). Alessandro Botticelli: 1444/45-1510. Könemann. İşçi, S. (2020). La Primavera. Access address: https://www.sincaniscigunlugu.com/la-primavera-ilkbaharalegorisi/ Moya, F. (1997). Los "Céfäros" del Nacämäento de Venus de Bottäcellä: una häpótesäs. Imafronte (1213). https://revistas.um.es/imafronte/article/view/38901 Öndin, N. (2016). Rönesans düşüncesi ve resim sanatı. İstanbul: Hayalperest Yayınları. Schaeffner C. (1968). The Renaissance. III. Published by Edito-Service. World of Rare Books (Goringby-Sea, SXW, United Kingdom). Sözen, M., ve Tanyeli, U. (1986). Sanat kavram ve terimleri sözlüğü: resim-heykel-mimarlık, geleneksel Türk sanatları-yugulamalı sanatlar ve genel sanat kavramları. İstanbul: Remzi Kitabevi. Şenyapılı, Ö. (2004). Rönesans. İstanbul: Boyut Yayıncılık. Yeni Yüksektepe Dergisi (2017). İlkbahar‖ın Ezoterik Yorumu. Platon Kitaplığı Aylık Bülteni Kadıköy Şubesi. Access address: https://issuu.com/aktiffelsefekadikoy9/docs/nisan_2017_b__lten Yılmaz, N. (2011). “Botticelli‟nin İlkbahar‟ı”, Lebriz Sanal Dergisi, http://lebriz.com/pages/lsd.aspx?lang=TR&sectionID=12&articleID=911&bhcp=1. Access address: Figure Figure 1. Sandro Botticelli, "Allegory Of Spring", Tempera on Poplar, 203x314 cm, 1478, Uffizi, Florence, Italy Figure 2. Eros (Detail) Figure 3. Venüs (Detail) Figure 4. Zephyros and Flora/Chloris (Detail) Figure 5. Khariss and Hermes (Detail) 171 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Art as a Tool for Understanding the Subconscious Çağdaş Ülgen, Dokuz Eylul University, Faculty of Fine Arts, Department of Film Design, İzmir cagdas.ulgen@deu.edu.tr Abstract After the formation of the subconscious concept, the idea that the human mind has layers beyond the visible has been accepted and intensive studies have been carried out on the subject in the last years of the 18th century and the first quarter of the 19th century. The investigation of the types and properties of the subconscious layers has caused the works of art, which are a product of the human mind, to be viewed in a new way, as the expression of the subconscious. As a result of this situation, art and psychology have entered each other's fields and new results have started to emerge in both branches. In this period, artists who voluntarily tried to disable their consciousness, attempted methods that would be instrumental in this. Understanding that the concept of the subconscious is accessible from visual and verbal productions has led to technical advances in medicine as well as in art. This period, which covers the first quarter of the 19th century and where modern psychology and art are intertwined, constitutes the subject of our study with historical events, important people and methods developed. As a result of the information obtained from the research, the developments in the field of art and medicine of the period are explained in the study. Using the case study method, the prominent techniques in art and medicine related to the subconscious used in this period were examined by scanning the written literature. In the prominent works related to the relation of subconscious and art, it has taken its place as examples of art movements within the work. In this context, the relationships of scientists such as Sigmund Freud, Carl Jung, Hermann Rorschach and artists such as Salvador Dali, Luis Buñuel, René Magritte, who have an important place in the flow of events, have been examined in the relevant parts. In our study, the main focus points were the historical order of events, their interactions with each other and the methods used. Since the visual analysis of the works will distract the focus of the study, it was decided that such analyzes should be carried out in other studies and were excluded from the scope of this study. It has been tried to explain the role of art in understanding the mental structure and thus improving mental health. A better understanding of the subconscious expression and the relationship between art in historical context will contribute to a deep understanding of the relationship between self and art. In this context, our study has explained the prominent experimental methods developed. As a result of the transfer of historical processes and methods, artistic producers will be able to acquire knowledge that can lay the groundwork for possible new methods. Keywords: Subconscious, Sigmund Freud, Surrealism, Salvador Dali, Automatism. 172 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Introduction In psychology, the unconscious is used for the parts of the human self that we can hardly accept or that we can accept outside the limits of consciousness. The term unconscious has been used because it describes a structure of consciousness that is hidden outside of the visible consciousness of the human being, in a sense beyond the visible. At this point, we need to explain the difference between the word unconscious and the word subconscious, two terms that are sometimes used synonymously, and why I prefer to use the word unconscious instead of subconscious in this work. The subconscious was used to describe a sub-personality independent of the individual's consciousness, especially at the end of the 19th century. In this sense, the subconscious reminds us of the Mr. Hyde character from the famous novella Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson, 1886). In these definitions, the subconscious characterizes a totally different second self and mistakenly implies that these two selves are completely unrelated. Sigmund Freud, founder of psychoanalysis, in his early works such as 1893 Study of Hysterical and Motor Paralyses and 1895 Studies on Hysteria used the term subconscious synonymously with the unconscious. However, because he disagreed with the idea that the term subconscious refers to a second personality and thinks that the subconscious is part of the personality, he soon began to use the unconscious instead of this term (Laplanche and Pontalis, 1988, p. 420). Freud also stated that the word subconscious has ambiguity caused by it being a position description and therefore did not prefer to use the term. "If someone talks of the sub-consciousness, I cannot tell whether he means the term topographically - to indicate another consciousness, a subterranean one, as it were" (Freud, 1953, p. 198) It is a point to be taken into consideration in research that, as in this example, they can undergo nuanced changes in the meanings of various terms over the years. In our research, we use the unconscious instead of the subconscious to emphasize the part of consciousness that is outside of the visible, taking this distinction into consideration. In his book Interpretation of Dreams in 1899, Sigmund Freud introduced the idea that a dream is an expression of the unconscious, which plays an important role in understanding one's consciousness as a whole. This conclusion of Freud initiated the process in which consciousness perception will be questioned again in the western world in the 20th century. Thanks to his studies, he has radically changed the view of mental illnesses with the conclusion that psychological problems can occur at the end of intellectual processes rather than physical dysfunctions of the brain. With Freud's determination that sexuality is a healthy part of human psychology, it has come to the conclusion that its suppression will cause discomfort. According to some authors, thanks to these inferences, the place of women in the society that has become sexually liberated has been reshaped in a good way. These inferences contributed to the change in the role of women in society and being a part of life outside the home (Lunardi, 1997, p. 159). Psychoanalysis and the emergence of modern psychology have also had profound effects in the art world, which carries the reflections of great social events. Freud And Unconscious Freud's work formed the basis for the theories that the Swiss psychiatrist Carl Jung would also develop. Carl Jung has inspired art production techniques as well as developing theories that will enable us to better understand the human unconscious. The archetype theorem, which he carried forward by working on it, constitutes the basis of various scenario writing methods. In both Freud's and Jung's work, they also analyze artists and common folk stories, by analyzing works of art and myths (just as they did with the analysis of dreams) they understand the artists or the society on a deeper level. Freud analyzed Michelangelo's Moses and made these inferences by examining factors such as the body posture of the statue, the position of the hands, the gesture of the hands, the relationship of the hands to the character's beard and tablets. In 1914 his deductions turned into an article called Michelangelo's Moses (Freud, 1953b, p. 211). In addition to his analysis on Michelangelo‘s work he also analyzed another important renaissance figure. He made predictions on the childhood period and sexual development of Leonardo Da Vinci by analyzing Da Vinci‘s works. Freud gathered these analyses into a separate book, Leonardo Da Vinci and a Memory of his Childhood, in 1910. Freud also worked on written texts and legends. His works based on the Greek mythological story, Oedipus complex and Shakespeare's Hamlet are wellknown popular works (Lindauer, 2009, p.18). As Freud's studies and examples show, works of art can be analyzed by perceiving them as the embodied product of the unconscious. In the following years, the idea that psychoanalytic methods can be used in reverse will lead to the birth of new art movements. WWI's impact on art movements 173 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The outbreak of the First World War in 1914 and the destruction of the war as a result of human straight logic showed the world that the human thought system needed more than plain logic. In the years following the First World War, artists who were influenced by the reading of dreams and the unconscious themes created new art movements. As stated in the foreword of the 2020 edition of Freud's Interpretation of Dreams, in 1899 or 1900 as it was written in the book because Freud wanted to be understood that his book belongs to the new century, is printed in a limited way with only 600 copies. It was not widely heard, as a result of its limited edition. In fact, it took 8 years for the 600 copies in the first edition to be sold. It is essentially the second edition of this book that brought Freud his fame. The second edition of the book was published in 1910. The popularization of psychoanalytic analysis and the ensuing Dadaism are also a result of this timeline. The development of psychoanalysis and the First World War in the following years paved the way for the emergence of Dadaism (1916) and then Surrealism (1920) art movements (Resula, 2020, p.343). André Breton, one of the leading founders of Dadaism and Surrealism, started his medical education in Paris in 1913. He served as a medical assistant in the army in 1915. While serving in the military, he used psychoanalysis to help his patients cope with war trauma (as cited in Williams, 1987, p.16). Breton's medical education and psychoanalytic knowledge formed the basis for Dadaism, in which he played an important role in its establishment in 1916 a year later. Dadaism, as a war against war, has also been a protest against rationality and classical art. While creating the works in Dada, ready-made objects and absurd humor were often used. They sometimes mocked the norms of classical art (as observed in Marcel Duchamp's urinal (Eng. Fountain)) and sometimes they mocked directly the classic work of art itself (as observed in Rrose Sélavy and Marcel Duchamp's L.H.O.O.Q.). This absurd humor was a protest against authority and the reactionary spirit of the time. The methods they used while carrying out these art studies originated from the writings of Freud, which constitutes the spirit of the age (zeitgeist). Dadaists which were influenced by Freud's Interpretation of Dreams , tried to transfer their unconsciousness to their art studies and writings. In a sense, Dadaists have redefined the purpose of art by aiming to reach a point beyond consciousness with these searches. The Dadaist movement (1916) and after that the surrealism movement, which was formed by the artists in the Dadaist movement, had a groundbreaking effect in the history of art (Flicker, Schooneveld and Richins, 2020, p.6). It would be quite plausible to deduce that these artists were helped by the unconscious, absurd and humorous experiments they created in order to cope with the destruction and horror of plain logic in a healthy way. The Uncanny and Surrealism Freud's other work that is not known as much as Interpretation of Dreams, but which was very influential in the birth of surrealism was an about 20 pages long article named Das Unheimliche. Although 'Das Unheimliche' is translated into English as 'The Uncanny', the word originally means 'unhomely' 'not from home'. According to Freud, this phenomenon is the feeling that occurs when our mind warns us that there is an oddity as a result of the objects and people that we know from our past or that have an important place in our lives in our childhood, or objects with different contexts other than where they should be. In other words, 'Unheimlich' is the return of the repressed memory by being pushed into the unconscious. The uncanny feeling we feel when we see a person who is very similar to a person we know but we do not know or when we see a person we remember in relation to a certain place but we see them in a place that they should not be, is an example of this situation. Twins that are familiar but make us feel weird because they are incompatible in horror cinema, things that behave or look like humans even though they are not human, the mirror reflection is different, déjavu or early childhood objects such as babies, clowns, cradles are common in this phenomenon. Twins who are visually the same and there for make us feel restless, things that behave like a human or look like a human, even though they are not human, the reflection in the mirror which is different from what it should be, déjavu or early childhood objects such as babies, clowns, cradles are many examples of this phenomenon which often used in horror cinema. As Stanley Kubrick quotes from Freud's article, perhaps the only emotion that can be experienced in art stronger than life is indeed uncanny (Hughes, 2000, p.217). The uncanny for the examples of surrealism art movement appears to us as, using objects for different purposes, using strangely similar but different repetitions in painting works, reconstructing objects out of the size or shape they should be. At this point, it is necessary to add that Freud stated that the opposite meaning of the term 'unheimlich', 'heimlich', that is 'familiar at home', is complementary to the term 'unheimlich'. The familiar 'heimlich' thing after a while or somehow can turn into 'unheimlich'. The ambiguity resulting from the relationship between recognition and unrecognition is the main reason for the occurrence of this state of completion between 'unheimlich' and 'heimlich'. Freud, written in 1919, Das Unheimliche 's article influenced the emergence of surrealism in the 1920s. When surreal works are examined contextually, it is observed that this situation is tried to be visualized by the artists through direct representations in their works. 174 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The official foundation of surrealism is mentioned in various sources as the Surrealist Manifesto written by André Breton in 1924. However, as of 1917 before the surrealist manifesto, the use of the term appears (Just as Jean Cocteau, in the booklet of the play he wrote the script for, describes the play as a surrealist parade.)(Cornelia A. Tsakiridou, Reviewing Orpheus: Essays on the Cinema and Art of Jean Cocteau, Bucknell University Press, 1997, P.34). There are also examples of artworks deemed surrealist in recent years before 1924, when the surrealist manifesto was written (Max Ernst, The Elephant Celebes, 1921). The article Les Chants Magnétiques (Magnetic fields), written in 1920 by André Breton and Philippe Soupault, was not created against an existing work or situation. Since the article is an independent work on its own, it is referred to as a surrealist work in the literature rather than a dadaist. Breton defines in the Surrealist Manifesto of 1924 as follows; ―Psychic automatism in its pure state, by which one proposes to express-verbally, by means of the written word, or in any other mannerthe actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or oral concern. "(Breton, 1969, p.26). With the development of surrealism, the unconscious has become a source for the artists. Influenced by psychoanalytic theory, Surrealists used art to explore the unconscious part of the self. It is a method of self-analysis that transfers unconsciousness to art through symbolism. Artists have experimented with different techniques in order to express their pure unconscious into art pieces. Automatism is the underlying principle in many of these techniques. André Breton and Philippe Soupault wrote the article Les Chants Magnétiques (Magnetic Fields) using the automatism technique. Automatism is a method that the artist uses by aiming to release the unconscious by suppressing their consciousness, and in this process, the randomness and free association itself is used to reach the unconscious. In order to achieve this goal, Breton and Soupault, aimed to reach the unconscious areas by performing the writing process without thinking deeply on the text, rather than thinking they try to write as quickly as possible. The purpose of automatism is to allow the artist to create the work with the unconscious by remaining in a somewhat transal state. In order to achieve this goal as they stated in the Surrealist Manifesto, they allow the invasion of unexpected verbal expressions with their expressions (Beck, 2019. p.61). The exclusion of consciousness in the creation of the artwork, when the consciousness, which is the part of the self that defines itself as I, is removed in the production of the artwork, the creation of the work of art with unconscious or common unconscious also causes the process to gain a mystical aspect. Automatism has been used by artists for writing as well as drawing, and continues to be used. Surrealists have also produced collective working methods by adapting methods that resemble various parlour games. One of the prominent activities among these art production methods is Cadavre Exquis. This method can be used for drawing but variation of it is also used for writing. In fact, in some application examples in the following years after the emergence of the technique, people also used bags filled with objects instead of empty paper and other two-dimensional production materials (Lindgren, Schneiderman, & Denlinger, 2009, p.63). In the Cadavre Exquis method, which can be applied with at least two people but the examples are usually created with at least three people, the first person sticks images or draws on a part of the paper. The first person who performs the intervention folds the part of the paper where he / she performs the transaction and passes the work to the person next to him. This process is continued by folding the paper as many as the number of people involved in the study. After the completion of the work, the paper is opened and the work that was produced collectively and randomly is concluded. When the various studies produced with this technique are examined, it is observed that sometimes the same method can be performed without hiding the work done by the previous person. The fact that the working area boundary of the people who carried out the study does not end sharply or the image created as a result of the studies has a homogeneous structure indicates this situation. In these examples, randomness gives its place to connotation. Collage, assemblage and all kinds of combining logic are among the production methods that we observe frequently used by Dadaist and then Surrealist artists in their works. The main method used in the production of collage works is the free association method. In collage technique, it creates an unconscious production method by taking the production method out of the absolute control of consciousness by adding it to the apparently unconnected connotation that follows an image or word. The free association technique, which forms the main point in these methods, is a method Freud uses to understand the unconscious of his patients (Richard Swedberg, The Art of Social Theory, Princeton University Press, 2015 p.198). Free association is a technique that enables people to understand the problems that lie in their unconscious that they suppress. The person who understands their unconsciousness can find the real causes of their behavioral or emotional problems and confront them, thus they can overcome those problems. While the free association technique is used in psychotherapy, it is ensured that the patient sits or sleeps in a comfortable position, and if the patient feels comfortable, he can also choose to close his eyes. Once in a comfortable position, the patient begins to say the rational or illogical words that come to 175 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 his mind. The person performing the therapy notes the repetitive structures or different statements in this narrative. With the examinations made on these notes, it is tried to reveal the problems that the person is not aware of because he / she pushes them to the unconscious (Gilles, 2015). With the free association technique, it is aimed to understand the patient's unconscious. With asking questions, the therapist aims to help the patient to have this free association experience more freely (Kris, 1996, p. 3). In the use of a free association method in the production of artwork, the artist uses this process to transfer his own unconsciousness to the work. Freud's discoveries on dreams and revealing that dreams are the means of transmission of people's unconscious has increased the importance of dreams in the search for self. After dreams became an important subject in understanding personality, surrealists who wanted to reach their unconscious also carried out studies on their dreams. Within the scope of these studies, they attempted to get up and paint by setting an alarm in mid-sleep hours or to write down their dreams in dream diaries (Abbott, 1984, p.84). These dream diaries that are kept by surrealists can be diaries in which poems are written and / or used commonly as well as some dreams (Conley & Desnos, 2003, p.72). In order to reach the unconscious, surrealists tried to keep a record of their dreams. Surrealists aimed to export the images in their unconscious worlds by documenting their dreams, leaving consciousness in the background as much as possible with the techniques they used in their artistic works, and working with unconscious associations. Surrealists, who use automatism as a production method, free association, collage and dreams as an indicator of the direct subconscious, have developed dozens of different production techniques consisting of the combination of these main logic in varying amounts. While creating these production techniques, most of them left room for randomness, resulting in an unintended starting point from which their unconscious would begin to work. The various methods they apply include creating random words, stains, textures, shapes, creating free associations from these concepts and images, and creating new works (Brotchie and Gooding, 1995). This free associate base visual working systems used by Dadaists and Surrealists brings to mind the famous Rorschach ink test developed by Hermann Rorschach. In 1921, Hermann Rorschach developed the famous ink test to read the unconscious of his patients. Initially, the test consisted of 10 spotted cards. He asked his patients to interpret these cards which were containing randomly generated ink spots. The patients stated the images that characterize their unconsciousness in the cards containing random spots and conveyed them to the outside (Beck, 1949, p. 1). However, the process of comparing the randomly generated images used by surrealists to another visual with free association is similar to Klecksography, which is a much older technique than the method used by Hermann Rorschach. It is accepted that the Klecksography technique also guided Rorschach in developing his test. Klecksography originated in 1857 when the ink stains dropped on the page of a poet named Justinus Kerner. Kerner folded the ink spots on his page to make them look symmetrical by folding the page, then he added more shapes to these stains to create visual illustrations for his poems, and transformed these abstract stains into visuals with meanings. Although it was later determined that Kerner created the technique in 1857 thanks to the dates he wrote under his poems, the technique became known to the masses after Kerner's poetry book published in 1890 with illustrations derived from this type of ink stain (Richardson, 2014, p.134). Later, this kind of game became widespread among the young people of the time in the following years, Hermann Rorschach was one of the many young people. Rorschach was known as the German "Klex" inkblot among his friends because of his fondness for the game of simulating ink spots in his youth (Chicago Institute for Psychoanalysis Staff, 1987, p. 197). Interestingly, the relationship between stain and association led to the emergence of innovative methods in both areas by supporting each other in the developments in the field of health and art in the period. Another interesting technique used by surrealists, similar to the way abstract expressionists work with paint, dropping or splashing on a blank canvas, is Bulletism (1956), named by Salvador Dali. These methods, where drawings are created by using free association from the stain created by the ink material thrown on the blank surface, bring to mind the technique of drawing based on the ink drop developed by Kerner. Of course to think that Salvador Dali would simply throw ink on a blank surface would be to underestimate him. Dali transferred the ink to the lithography plates with different production methods, perhaps in order to make his lithography work technique more interesting for him. In the first of these techniques, Dali used an early 15th century rifle filled with ink and gunpowder. By hitting the stone that he will use in the printing, which he floated in the river of Sen, with this ink-filled old type rifle, he formed the stains that would lead to free association. In another of his applications, he filled two empty rhino horns, which he placed in ink-soaked breadcrumbs, and smashed the rhino horns on the stone in the company of eighty girls who were ecstatic around him. With all these rituels Dali created the stains that will form the basis of his work (as cited in Wisniewski, 2020, p.121). Although I have personal doubts that he went this far in applying these techniques, Dali's statement is as cited. 176 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Conclusion Today, in the mental health departments of hospitals, to make patience express their subconscious through art, is a commonly used method. The artworks of the patients help them to understand their problems by themselves and by their doctors. Whether it is patients with high levels of mental distress or individuals with daily mental distress. Art, as a means of unconscious transmission, helps people to understand themselves and to explain themselves to others. With this benefit, art allows people to reach a peaceful and happy state of mind. Another point that draws attention in the examination of this historical process is that the fields of health and art are intersecting with each other with the concept of play. Thanks to gamings environment of freedom, it has enabled the development of original techniques in the fields of health and art. Through play, art and health have entered each other's boundaries, just like the various qualities in human life. As soon as arts and health enter each other's domains, they start to find new ways to expand themselves. Bibliography Abbott, HPD (1984). Fiction: Writing as Action. Cornell University Press. Beck, SJ (1949). Rorschach's Test: Basic processes. Grune & Stratton. Breton, A. (1969). Manifestoes of Surrealism. University of Michigan Press Brotchie, A. & Gooding, M. (1995). A Book Of Surrealist Games. Boston and London: SHAMBHALA REDSTONE EDITIONS. Chicago Institute for Psychoanalysis Staff (1987). Annual of Psychoanalysis. International Universities Press. Conley, K. & Desnos, R. (2003). Surrealism, and the Marvelous in Everyday Life, U of Nebraska Press. Flicker, F., Schooneveld JGV and Richins J. (2020). Creating Art for All Ages: Industry and Imagination in Ancient and Modern Civilizations. Rowman & Littlefield. Freud, S. (1953). The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume 20. Hogarth Press and the Institute of Psycho-Analysis. Freud, S. (1953b). The Standard Edition of the Complete Psychological Works of Sigmund Freud: (19131914) Totem and taboo and other works. Hogarth Press. Gilles, G. (2015, June 1). What Is Free Association? - Definition & Concept. [web content]. Access address: https://study.com/academy/lesson/what-is-free-association-definition-lesson-test.html Hughes D. (2000). The Complete Kubrick. Virgin. Kochhar-Lindgren, K., Schneiderman, D., & Denlinger, T. (2009). The Exquisite Corpse: Chance and Collaboration in Surrealism's Parlor Game. U of Nebraska Press. Kris, AO (1996). Free Association: Method and Process. Analytic Press. Laplanche, J. & Pontalis, JB (1988). THE LANGUAGE OF PSYCHOANALYSIS. London: KARNAC BOOKS. Lindauer, MS (2009). Psyche and the Literary Muses: The Contribution of Literary Content to Scientific Psychology Volume 7 of Linguistic approaches to literature. John Benjamins Publishing. Lunardini, CA (1997). What Every American Should Know about Women's History: 200 Events that Shaped Our Destiny. Adams Media Corporation. Rasula, J. (2020). Acrobatic Modernism from the Avant-Garde to Prehistory. Oxford University Press. Richardson, JTE (2011). Howard Andrew Knox: Pioneer of Intelligence Testing at Ellis Island. Columbia University Press. Williams, VP (1987). Surrealism, Quantum Philosophy, and World War I. Garland. Wisniewski, G. (2020). The Art of Looking at Art. Rowman & Littlefield. 177 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Mandala as an Artistic Healing Tool Çağdaş Ülgen, Dokuz Eylul University, Faculty of Fine Arts, Department of Film Design, İzmir cagdas.ulgen@deu.edu.tr Abstract Meditation is an act of focusing on one thing. One of its common uses is the act of focusing on the experience of "being in the moment" in a simple way, free from regrets of yesterday and worries for tomorrow. There are many different methods of meditation to perform this action, such as focusing on a fixed object, breathing or focusing on body parts. One of the interesting, traditional meditation practices is drawing shapes called mandalas. Mandala, which literally means ‗circle‘ in sanskrit and refers to "container that contains the essence", are abstract, circle-centered, geometric fragmented patterns that represent me and / or the universe. As it does not have any subject, there is no aesthetic goal to be achieved while creating a mandala. Colored sand grains are used as material in traditional mandalas. Its production is carried out with a very long process, accompanied by a sound suitable for concentration. Immediately after the complete shape occurs, the place of the sand is scrambled up and placed in a container. Then, the container is washed in the river to prevent the sand grains from being kept. Thus, everything related to the process of the creation and occurrence of the mandala is eliminated. With a similar focus, the relaxation state also occurs in a certain amount in every different productive activity. This situation, which can be experienced while producing works in different branches, can be defined as "getting caught up in the job" in Turkish. This situation is called "being in the flow" in psychology and art. While the state of being in a meditative "flow" with high concentration in different art subjects can be experienced from time to time, hearing aesthetic concerns can prevent the person doing the artistic activity in a complete trance state. Mandalas, which are created as a means of concentrating without an aesthetic concern, are in a structure that can lead the person to this meditative state more easily. With this aspect, mandalas help the person to reach a peaceful mood by reducing the stress level during the productive period. In this study, the meaning and purpose of meditation and mandala in art as a meditative tool are explained with the historical scanning method. From Buddhist temples to coloring books in today's bookstores, the uses of mandalas in various periods in world history are specified. Mandala types and production methods have been researched. Although the mandala is thought directly in conjunction with Buddhism and Buddhist culture, its different versions have been used with similar meanings in other cultures (such as the interior ornamentation of mosque domes). Examples on various cultural values with similar visual features were examined by the semiotic method. The positive effects on human health, which have been determined by past scientific studies on the use of mandala, are stated. With these studies, it is aimed to better understand the healing effects of the productions performed by using repetition in art or completely leaving the thought in the background, through the concept of mandala. Keywords: Mandala, Meditation, Self, Geometric Form, Repetition Introduction Mandala is a popular spiritual symbol. Mainly it is a circular design that represents unity between self and universe. Although it originates in Asia regions such as India, Tibet and Japan, it became popular among western culture as well. Of course its usage and representation changes around the globe. Even in Asian regions its design and what it stands for changes from territory to territory, but one thing stays the same, its strong connection with culture. Some of its usage may be common, but details of its use differs from region to region. It has many uses such as explaining philosophical systems, representing spiritual stories, by way of a spiritual act, and of course to meditate (Tanaka, 2018, p.19). Meaning of the mandala and how to make it with classical rules in each one of these territories is an extended topic, and it may also divert us from the main discussion. Therefore, while we will discuss the topic in general, some well known facts will be represented. 178 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 About Mandala One of the most precise explanations of mandala is: ‗Firstly, it is a ‗circle‘ in the sense of assembly; secondly, it is ‗what gives birth to all Buddhas‘; and thirdly, it is a ‗bringing together‘ or ‗concentration‘‘ (as cited in Snodgrass, 1988, p.118). As explained in the same parts of the material we can expand those descriptions. Circle is a basic form which expands to all directions while staying as one. Because of its shape, it represents coming together, concentration, gathering and being one. Mandalas can be made by a group of people and because of this property it also means a circle of friends. One of the remarkable ways of making mandala is constructing the form with smaller ingredients like sand grains, rice or chalk rather than painting it. Although Buddhist monks in Tibet paint mandalas in their works to archive the knowledge about how to build it or while learning how to do it. It took three years for students to master the making techniques and memorize shapes and their meanings (Bryant, 2003, p. 196). One of the most famous kinds of mandala is Tibet sand mandala. This specific kind of mandala is called Kalachakra mandala. In their rituals, which contain many chants and preparations, monks use colored sand grains to construct their mandala. Monks making sand mandala is a ritual that combines chants, meditation, purification and food offering (Fieldhouse, 2017, p.83). After rituals, mandala drawing started to be constructed with colored ropes and basic ruling devices. With contours these ropes made, the outline of the mandala takes shape. Between these lines monks start to pour five different colors of sand (white, red, green, yellow and blue) to build mandalas (Mills, 2013, p.123). After a few days of hard work the mandala takes shape only to be viewed for a short period of time. One of the main statements of Tibetan sand mandala is about transcendency. No matter how beautiful they are, everything that becomes must vanish. After a few days of display, sand mandalas are demolished with chants to conclude ritual. And all the grains wash in the river. (Cozort, 1995) One of the many healing abilities in this process is the meditative production process of the mandala. When the drawing of mandalas outline ends, a long and rhythmic process of sand pouring takes place for days. This sand pouring process helps the mind to lose its thoughts in the process. And helps participants to be in a meditative state. Tibetan monks are not the only people that produce mandalas by pouring. In India there are festivals that are dedicated to mandala productions. Instead of sand in India they use rice paste to create mandalas. Although some mandalas can have geometric symbols which refer to Hinduistic codes which are also called as yatras they also make more nature oriented shapes too. Those nature oriented mandalas are in some parts of India called kolam. It is also well known by this name in the western literature too. They produce their mandalas by pouring race paste instead of sand grains (Huyser, 2002, p.12). Different areas in India are also called mandala with different names. In Tamil Nadu as we mentioned it is called kolam , in Karnataka rangoli, in Andhra Pradesh it becomes muggulu, alpana in West Bengal, mandana in Rajasthan... and the list goes on (Advani, 1990, p.66). When we examine the examples of different Indian mandalas from different parts of the region some interesting similarities start to occur. No matter what they called or used for (for good luck to fertility charm or for religious reasons) they kept the main production principles more or less the same. Indian mandala designs mostly originate from a flower, plant or symmetric circular geometries. Those organic structures in Indian mandalas are produced by geometric general shapes, which are constructed with lines and dots. Navajo tribes in America also use color sands to draw shapes in a circular form for shamanic healing rituals. In Navajo culture it is believed that the past and now is connected. They also believe the mystical world is connected with reality. Therefore, they use mythical heroes' drawings in their circular formed drawing to cure ill. Ritual takes place with singing and chants. (Griffin-Pierce, 1992, p.6) (Davies, 2001, p.26) In healing rituals the patient sits on a sand mandala. Interactions between the mandala and the patients makes the healing ritual happen (Newcomb & Reichard, 1975, p.23). When we analyze the Navajo sand paint examples rather than one formal design we see many design variations which generally have colors in pastel tones. Because Navajo circular sand drawings are used for ritualistic reasons in many sources It is also called mandala and compared with Tibetan sand mandalas. Aborigines are another culture that draws patterns with colored sand. They also use pigments to paint cave walls, tree barks and such and make carvings to various places with the same shapes. Even though they draw circular forms in their sand works, in many examples it is mostly a part of what they are building. Despite being used for spiritual reasons they also draw shapes to tell a story, or to use it more like a map to show animals rotations or clean water resources. In their sand drawings dots represent the footsteps of animals or humans. Curved lines for places with snakes, thin lines show routes of animals while thick lines showing rivers or routes of ancestors and zigzag lines are for the route of hunters. They use a circle inside a circle kind of form to mark clean water supplies (McKay, 2001, p. 20). When we analyze examples of Aborigine sand drawings many of them also 179 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 include graphical animal and human representations with a distinguished style but beside them, they also have those geometric shapes which connect the parts of the map like pieces. Those sand drawings look more like a map than a symmetrical mandala, however in some examples it contains circular mandala-like forms. One of the circular shapes with red and white lines represents the origin of the ancestors. And its use for marking secret places and invoke the spiritual energy of the ancestors (McLeod, 2016). It is interesting because like the other places in the globe, in addition to many other symbols, circular shapes are used by aborigines as a representation of spirituality. While thinking about mandalas, if we put the sand material aside and focus on basic design elements of it, like circular form with symmetrical build which consist of repetition. And also think about its ritualistic or meditative use then we start to realize those kinds of circular symbols are used with other cultures as well. While many designs have been used in the rituals or in daily use, representing divinity with a circular form or being in a meditative state with repetition is quite common all around the world. We can say the famous ancient relic Aztec calendar stone is a mandala in this sense. The calendar has a representation of the sun god in the center and just like the budist priest make in their mandalas, the calendar also split to four main squares and then through repetitive patterns its general shape turns into a circle (Roupp, 2015, 169). In Anatolia many of the mosque's domes also have repetitive patterns sometimes with religious sayings or names on them. Those domes with patterns and religious properties also can be called mandala in this sense. The same thing can be observed in many of the circular cathedral windows. Their circular structure with divine depictions and repetitive patterns in the cathedral windows also forms some kind of mandala. Despite being used for obvious ritualistic or religious reasons the form of the mandala is also used in daily life for meditative or decorative reasons. In Turkey it is a tradition to create those kinds of designs with crochet as decorative objects. And those traditional crochets back in the days were used for covering various objects from tables to televisions. It is called dantel, although it is produced in many shapes and variations one of the most common models is yuvarlak (circular) dantel. Like in Indian mandala, dantel pattern models almost always involve flower or plant base structures with geometric abstraction and repetition. Like in indian mandalas, which are produced mostly only in white, dantel is also produced in white only. And likewise in India, Turkish dantel is popular among women. Mandala and mandala like models are also popular in west crochet and knitting models. There are many books in the literature that have written about the connection between mandala and crochet. Mandala and Jung Jung believes that in the dreams the unconscious tries to find a center which he called this center self. But self was not limited to the unconscious, it was also including the conscious part of the personality. He sees mandalas as an archetypal symbol of the self. Jung was especially interested in Tibetan mandalas. When you compare the symbolism system of Tibetan mandalas and Jung's archetypal construct it is easy to realize how Jung was affected by the Tibetan mandalas. Tibetan mandalas among many symbols have a visual symbolism in it which shows five different wisdom which they combine in a mandala and become whole. Those five wisdom represent different colors, one in the middle and other four are round that one (Elizabeth, 1995, p. 194). Jung was so interested in Tibetan mandalas he took it further and went to Bhutia Busty monastery near Darjeeling in 1938 to learn about them in the first hand. In there he witnesses the making of a mandala ritual and learns that the mandala that is built visually is just a representation and the real mandala is the one that is constructed inside a person (Nimai Singh, 2018, p. 26). Mandalas occupy a large place in Jung's work. The parts related to Mandala in Jung's works were also published separately as a book in 1959 under the name of Mandala Symbolism. In addition to his written research on mandala, he also produced mandala studies. He thought that the clues about the personality of the people who made the mandala design himself could be read from these designs. So with this thought he also makes his patients draw and paint mandalas as a part of psychoanalysis and healing process. Although we could claim that Jung is mainly affected by Tibetan mandala. In his studies he discusses circular representation of self with many examples from different cultures. When we examine the drawings that Jung‘s patients did; it is clear that rather than traditional mandala drawings, he channeled them to draw their own mandala designs. With unique designs of mandalas, Jung manages his patients to represent their individual selves. Jung concludes his thoughts over magical circulars by stating that this form is one of the most important archaic symbols of the unconscious mind (Jung, 2014, p. 178). Jung's studies over mandalas and analyzes over his patience mandala drawings suggest the healing aspects of the mandalas or circular repetitive forms in general. His usage of mandala making in his patients is also a great example of interaction between art and healing. Jung makes an important observation on circular forms through mandala and better yet he brilliantly adapts those observations to his medical applications. 180 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 While Jung approaches the subject mainly from the meaning of a mandala and how it affects to design one, it is only one of the healthy benefits of creating a mandala. As with most plastic arts production processes, artists can be caught in the creating process and be free from daily thoughts. This kind of mental state can be achieved especially if you are working on something that is already designed or involves many repetitions and very little decisions. It is easy to find many popular books on creating mandalas, most of those books focus on the painting of an existent mandala design. While doing it there is no need to make design choices, so the one doing it can be free from design worries. Coloring a predesigned mandala helps people to use their conscious less, and therefore it helps people to be in the moment. People find tranquility in this kind of production process. Healing spiritually or relaxing through creating mandala is quite a popular subject because of this qualification. Many of those books focus on the healing factor of repetitions which is similar to the essence of meditation techniques. It can be said that Tibetan monks also make predesigned mandalas. There are many traditional structures and symbols that take place in their mandala designs. There are many rules that ought to be followed. After finishing the lineout of the design they start to fill it with a meditative way. They concentrate and put themselves in a state while making mandalas with repetitive chants. If we come back to popular mandala coloring books, most of the pre designs in those mandala books are quite similar to Indian mandalas rather than Tibetan ones. They don't have distinct symbols in them; they are generally designed with abstract geometric versions of flowers, plants or wavelike shapes. Indian types of mandalas are also quite popular among many fabric designs whether in fabric models or as a painting on a product. In daily life, we see that similar to Indian mandalas circular geometric forms are used as traditional motifs in carpets, pillows, sacs, mats, tablecloths and similar areas. Probably because they seem like flowers and such, Indian types of mandalas are also highly admired in western world. While it is easy to find examples in daily life, it is also easy to find examples of Indian mandalas used by artists as a source of inspiration. Land art artists Sam Dougados from France and James Brunt from London both make mandala based pieces. Both artists create some of the most impressive examples of mandala oriented contemporary art. Dougados creates Indian kind of mandalas on a beach by basically drawing them directly to the sand, he made them with such a great scale and also with such great precision that when he concludes his pieces turn out as incredible pieces. Brunt on the other hand creates relatively small mandalas but uses creative ways of doing it. He transforms his surroundings in nature with things that naturally belong there and creates mandala designs according to the environment. Although both artists have very different approaches to their arts it is easy to see their arts' common sides such as, circular form, repetition and transitivity which are directly connected through basic principles of mandala. Conclusion When we consider different kinds of mandala examples by comparing them with each other, we can say that there are various prominent qualities. These are the transferring knowledge, comprehension of life and meditative processes of doing it. Thanks to the meditative process required during mandala making, creating mandala decreases the stress level and increases cognitive abilities. It also contributes to concentration, self-love and inner happiness. From ancient rituals to daily products, from psychoanalysis to art mandalas are being used in a wide scope. Humans get fascinated by mandalas, they learn, create, pray, tell stories with them. They try to understand themselves and others through mandalas. Mandala has been used for millennials throughout the globe, and it seems that it will be used in the future too. Bibliography Advani, AH (1990). The India Magazine of Her People and Culture, Volume 11. The University of Michigan. Bryant, B. (2003). The Wheel of Time Sand Mandala: Visual Scripture of Tibetan Buddhism. Snow Lion Publications. Cozort, D. (1995). The Sand Mandala of Vajrabhairava. Snow Lion Publications. Davies, W. (2001). Healing Ways: Navajo Health Care in the Twentieth Century. UNM Press. Elizabeth, CP (1995). Key to Your Hidden Power. Summit University Press. Fieldhouse, P. (2017). Food, Feasts, and Faith: An Encyclopedia of Food Culture in World Religions [2 volumes]. ABC-CLIO. 181 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Griffin-Pierce, T. (1992). Earth Is My Mother, Sky Is My Father: Space, Time, and Astronomy in Navajo Sandpainting. University of New Mexico. Huyser, A. (2002). Mandala for Inner Self-Discovery. Red Wheel/Weiser. Jung, CG (2014). Collected Works of C.G. Jung, Volume 18: The Symbolic Life: Miscellaneous Writings. Princeton University Press. McKay, HF (2001). Gadi Mirrabooka: Australian Aboriginal Tales from the Dreaming. Libraries Unlimited. McLeod, J. (2016). Colour Psychology Today. John Hunt Publishing. Mills, MA (2013). Identity, Ritual and State in Tibetan Buddhism: The Foundations of Authority in Gelukpa Monasticism. Routledge. Newcomb, FJ & Reichard, GA (1975). Sandpaintings of the Navajo Shooting Chant. Courier Corporation. Roupp, H. (2015) Teaching World History: A Resource Book: A Resource Book. Routledge. Snodgrass, A. (1988). The Matrix and Diamond World Mandalas in Shingon Buddhism, Volume 1. Aditya Prakashan. Tanaka, K. (2018). An Illustrated History of the Mandala: From Its Genesis to the Kalacakratantra. Simon and Schuster. 182 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Art as Search of a Better World From a Popperian Perspective Ezgi Tokdil Burdur Mehmet Akif Ersoy University, Faculty of Education, Fine Arts Education Department, etokdil@mehmetakif.edu.tr Abstract In this research, the creation / discovery phases of the scientist and the artist are analyzed mutually tracing the idea that the way to reach information and truth is the search for a better world within the scope of Karl Popper's science philosophy and optimistic view on history. According to Popper, the task of the scientist is to reach objective truth, but objective truths are not always absolute judgments. Likewise, the duty of art and the artist is not, and should not be, to present a valid point of view to objectivity. The reality of art is to create different subjectivities. Science and art differ at this point; when new knowledge emerges in science, it replaces the old information if it has sufficient verification power. However, in the field of art, the diversity of all subjectivities covering a certain period has an ageless value and an unfalsifiable quality. There are only certain historical conditions, cultural values, ideological structures, aesthetic identities, and as the human mind continues to progress, the perceived reality changes, parallel to this, new subjectivities of the object develop. As Popper expresses, the search for a better world lies at the heart of this change, both in science and in the field of art. From the existence of the universe to today's technology societies, humanity is always forward-looking, in motion and in an effort to liberate. While scientific reality, which examines the world of facts, continues its existence as a field of struggle to carry knowledge forward, cultural activity that reflects the world of emotion has shaped it as it wishes to be, not as it is or should be, and when art begins to be spoken, content becomes more important than form. But in the final analysis, it can be said that there is a mutual interaction in both; as science changes the world and it itself continues to change in that world, the artist participates in this movement and the way he (re)creates reality changes as he changes. As Popper put it, "it is the dream of reaching a new freedom" and human beings always continue their orientation as the search for a better world. Keywords: Karl Popper, Philosophy of science, Philosophy of art, Aesthetic perception, Objective sensation, Subjective perception, Factual reality. Introduction Orientation towards the search for a better world emerged from the idea of progressing towards the better. This introduces a prospective point of view in horizontal plane and a primary phase should be mentioned for this as in the beginning of the universe. Following the detection of a starting point, there has always been a spatiotemporal progress towards the better in cultural, scientific, philosophical terms and historical-social values. At this point, we come across arche concept with the meaning of the origin of the whole life in Ancient Greece. While the idea of progress had a theological dimension - a priori character- in Middle age world, it gained a systematic order within the concept of the philosophy of nature starting from the Renaissance and New Age. While linear time stood out in the 19th century, 20th century emphasized cyclic progress. But the idea of progress defining a common framework as a whole in the beginning validated different dynamics with unique characters in all fields starting from the emergence of modern philosophy. Historical progress (in terms of chronological time) is certainly linear but scientific progress has not always been in the form a straight line - the idea of reaching the better is always valid but the understanding of modern science has also questioned the cyclicality of this progress. Likewise, despite its constantly prospective characteristic, cultural consistency is not always after the objective good but is within the concept of a mental satisfaction and liberalization. We can say that a similar idea of progress is also present in thinking. Thus, the idea of progress has neither a completely constant meaning, nor a common orientation but can be defined in terms of functionality. Analyzing especially the historical conditions of the idea of progress, the accordingly conducted research aims to emphasize that, together with the similar and different aspects of the progress experienced within the concept of historical conditions between different fields especially scientific progress and artistic creation-, almost all aspects of the change in consistency pursue to reach a better world. Vital mobility has brought along the variation in the ways of thinking parallel to the liberalization 183 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 of the human mind and the aim of the act remained the same even though this change formed different searches in terms of method. A Historical Examination on the Concept of the Idea of Progress The idea of leading towards better from the present condition is what first comes to mind when talking about progress. According to Işık (2018: 16), "as humans always replace (or think that they replace) good with better, the historical process is a progress meaning to become constantly better and more competent compared to before". This consistency corresponds to a beginning and a finite aim, but does the time fact constituting the basis of change represent a Darwinist evolution or an Einsteinian fourth dimension perception, or is Kuhn's cyclical perception of time or Popperian staged history interpretation the reality? The idea of progress has become a subject of research with its historical (spatial and temporal), sensorial and intellectual dimensions in philosophy as in the history of science and will continue to stay so as long as the historicity continues, science develops, society changes and the culture is diversified. As quoted by Aysevener (2001: 172), "Collingwood states that a law of progress which manages the flow of history and will show the continuity of human activity and a related progress is a complete clutter of thought hesitating between the belief of humans for their superiority over the nature and for being only a part of nature" (1946:323). This clutter of thought has been an inevitable result of humans thinking about themselves and their surroundings since the ancient ages provided the emergence of philosophy as a thinking activity. But taking a step backward at this point, the interrelated but unique basic dynamics of the researches conducted on the idea of progress should be defined. According to Dark (2007: 555), three main criteria remain valid regardless of the consideration point of the progress, the first is the consistency of progress, the second is the relationality of the progresses in different categories (an advancement or progress experiences in a field also leads the way of a new orientation in other fields) and the consistent prospectivity of this relationship based on social, psychological or biological mechanisms (innate directivity). Innate directivity characteristic does not define chaos and entropy, but a consistent tendency towards the better. The idea of tendency towards the better -within the concept of progress- generates a beginning point and the idea of an end desired to be reached. Accordingly, while entering the content of the idea of progress within historical consistency, the research should primarily be started with the approach of Ancient Greek world of thought on the concept of origin (starting point of progress). Thinking tendency of Ancient Age primarily starts with the idea of chaos/cosmos -and this may date back to Heraclitus and Hesiod (mythological thinking)13. The idea that cosmos originated from chaos and both were a characteristics of the world lived in was prevailing in Ancient Greece. While a progress can be mentioned in terms of the phase of passing from chaos to order, the concept of progress does not have a meaning carried to the future as in the modern meaning of the concept of progress although its content is similar to the concepts of "progress" and 'endurance' "(Işık, 2018:17). According to Meier, "the concept of progress lacking the horizon of the future primarily focused on the technique" in the Ancient Greek world of philosophy (2007:28-29). However, history did not have value as a primary subject in Greek philosophy and nature was the main research subject. The reason for this was the willingness to "comprehend the existence, order repeating without change and the nature" (Gökberk, 1997:99). ―Understanding of an eternal origin forming the basis of the universe / formed by the universe itself / the idea of arche‖ lies at the starting point of comprehending the nature. This idea was also accepted by pre-Socratic philosophers but these philosophers were called as naturalist philosophers 14 as they searched for arche in the nature and defined change (not with the meaning of progress) with its vitality -"a product of the matter or phases inherent to the nature" (Önkal, 2018:21). According to Kahraman (2016: 1521); ―a cosmology degrading the world to simple presumptions" is available and regardless of the definition of arche or the formation of universe, 13 Greek poets Homer and Hesiodos founded Ancient Greek mythological philosophy. While oceanus (oceanwater) is arche as the basic matter and is in motion and cosmos is passed from water in Homer, the basic matter is chaos in Hesiodos and the concerned living matter turns into cosmos in a definite time. For detailed information: De Santo, R. M., Bisaccia, C., Cirillo, M.et al.(2009). The nature of water: Greek thought from Homer to Acusilaos. Journal of Nephrology. 22(14)92-97. 14 The naturalist period thinking in which "what is arche" constitutes the basic problem has different arguments within the concept of different periods and schools. For example while the philosophers of Miletos School explained the fact of change within the phase of passing from mythos to logos as water in Thales, an eternal thing as apeiron in Anaximander and the vitality condition of the basic matter which is air in Anaximenes, Pythagoreanist thinking focused on the formation of the form rather than change. While we come across the continuity of the idea of change in Heraclitus defining the basic matter as fire, Parmenides regards change as the illusion of the senses and refuses it (Önkal, 2018:21-44). 184 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 tendency towards the better emerged for investigating the idea of an ordinate universe. According to Özlem (1995: 19), this order embodying natural phases is cyclic" and the same cyclicality is also valid for human life and social order. As it can be seen especially in the state models of Plato 15 and Aristotle16, a system formed by recurrent, intermittent and disconnected rings within certain forms is available (Özlem, 1996:20). So the idea of a historical progress cannot be mentioned in Ancient Greece as covered within the research concept since "the thing wanted to be expressed with the presence of progress in history, every historical event takes place only once and these events continuously flow towards the future" (Aysevener, 2002:172). When we pass to the Middle Age from the historical phase in which the Antique world of thinking leads to the nature and the research subject is not shaped by the future but the past, we see that the idea of progress and (metaphysical) reality is explained by the phenomenon of God. According to Timuçin, "Monotheism developed and settled parallel to the development of abstractive human idea from Plato to Plotinus and from Plotinus to Saint Augustine" (2009:399). Idea of arche constituting the basis of everything and staying without changing in Antique philosophy is replaced by the idea of God and Christianity consciousness (theological reality). According to Kahraman (2016:1521), "The events in history are interpreted to prove the presence of God and the progress of humanity in a final direction is observed in this Christianity based view". According to this, everything is based on the idea of creation and this idea reaches an end in which the human being is responsible for his/or life in this world and this also leads the way of a moral progress. "While humane reality has gained historicity for the first time" according to Fetscher (1997:443), "the history (...) has acquired a meaning and aim" according to Carr (1996:131) (Işık, 2018:17). So it is understood that the historicity is accepted as a finite design with a certain beginning in Middle Age philosophy. The cyclicality was left behind and the idea of progress constituted the basis of Western philosophy. As also stated by Özlem, history, "(...) appears as a linear phase in which the whole humanity works to reach a defined goal" now (2004:26-33; Kahraman, 2016:1521). A linear progress different from the Ancient Greece in terms of social life in addition to the history design can also been mentioned in this period. As in the separation of the period into different stages by some historians while defining the historical progress steps of the period, important changes and stages are also observed in the social structure. The most important progress of this period was the emergence of feudal relations albeit their primitive character. Feudality settles gradually and develops in different societies and capital relations reach larger dimensions as it matures and starts to dissolve (Timuçin, 2009:375). Production-consumption relations which were under the sovereignty of the church at the beginning gradually evolved into the background preparing the formation of a society with different classes. In this regard, the linearity of the idea of progress also becomes clear in the social structure and regimes within the concept of history design. In Renaissance period, the ideas constituting the basis of Enlightenment showed their effect through replacing the theological culture existing outside humans (God-centered view of the world) with the culture belonging to this world (human and reason centered). Renaissance with the meaning of re-birth developed a prospective point of view in all respects and started to form a new thinking structure in religion, art and philosophy while the modern world was on its way as Cassirer defined (1984:165; Kahraman, 2016:1522). Works of Ancient philosophers were also re-interpreted in this period. This tendency should be evaluated as the precondition of progress but not as a return to the past. As also stated by Timuçin, "Those examining the thinking formations of the New Age will see that they reach back to the Ancient age from the depths of the Middle Age. Fertile sea of ideas of the Ancient Age was the starting point of the information research of the Renaissance intellectuals starting the New Age (...). Plato, Aristotle and others are yet brand new and will always remain so" (2009: 422). The tendency of the individual to the past in Renaissance is not to make prediction for the future but to learn about the conditions of the period and restructure the human values. According to Concordet (1990) among one of the most important philosophers of Enlightenment, human beings can turn the reality they live in into heaven and this will have sooner or later. As narrated by Aysevener, this progress takes place in ten different steps and the final stage is "the progressing period of the human mind in future" (2001:175). Awareness of progress has become visible with the foundation of modern sciences of nature and the studies of Galileo, Kepler, Newton and other scientists in this period lead the way of progress in New Age history. A linearity experienced also in scientific field parallel to a progress in historical sense (linear) can be mentioned here. A progress and rebirth different from the philosophy of Middle Age is also present in the field of art/culture but this progress becomes more clearly visible in the field of 15 "Reality, the real entity, never means experimental reality in Plato's language" (Cassirer, 1984:98). For detailed information,.Cassirer, E.(1984). Devlet Efsanesi (Translator: .N.Arat). İstanbul:Remzi Kitabevi 16 According to Kahraman, "While stating that the world of ideas is within the world of sensations, Aristotle states that the reality exists on this world. Progress, or existence in other words, is a connection between the form and matter for him" (2016:1520). 185 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 science compared to all other fields. The designs of the idea of progress for the future can also be read from the subtexts of many philosophers of the period. For example, as narrated by De Benoist, Francis Bacon stated that "the role of the human being is to dominate nature through learning its laws" and a temporal progress can be mentioned in this respect (2008:9; Işık, 2018:20). Similarly, Fontenlle (1688) stated that "everything in the world seems to show that the mind will bring itself to perfection (Koselleck, 2007:52;Işık, 2018:20). As also stated by Yazıcıoğlu (2019:119), "Emergence of the ideals for the development of the individual, society and finally humanity as a goal continues up to the notion of Enlightenment and reaches the maximum point in terms of comprehensiveness". Together with the idea of Enlightenment in the 17th century, the idea of all idealist and rationalist progress pioneered by Renaissance maturated and the significance of the inner presence of the human also stood out. Lessing, Kant, Herder, Locke, Hume and other representatives of the Enlightenment period presented important works in this concept and each carried the different perspectives of the notion of progress into visible perception and the linear competence notion was observed most clearly in this period within historical awareness. Human consciousness also continued to progress parallel to the historical progress and a new point of view based on reason (based on reason and common sense finally emerged following the trace of humanist thinking. In the 18th century, the idea of progress depends on a common ground between the nature and human mind. According to Collingwood (1990:98), "Human mind will start to operate in new and different ways which were unknown until that time and new operation ways will bring new moral, social and political results along and happiness will be much higher than ever" (Işık, 2018:21). Accordingly, it is understood that historicity awareness produces a more active and dynamic linearity with the mental abilities of temporal progress. In 19th century, an idea of progress in the form of "free progress of the spirit (absolute entity)" in the philosophy of history presented itself in Hegel system of thinking. In Hegel philosophy, we see that the absolute entity is "within a change, progress, development". An absolute freedom is desired to be reached. According to Hegel, progress "is towards the missing to the less missing. So contradiction is the missing thing as the opposite of itself in itself" (Hegel, 1995:154; Bravo, 2005:126). According to him, the absolute being is "the presentation of differences and contrasts" (Hilav, 2010:143). In this regard, "Spirit which is the moving force of history according to Hegel moves towards its aim through demolishing its opposite" (Bravo, 2005:126)17. All this process starting with the motive of knowing and wanting finally emerges that famous Master-Slave dialectic and this dual dialectic fundamentally emerging from the struggle of self-consciousnesses and starts with the will to change, to progress. Despite the presence of a linear progress design of history in which the facts of nature and history are separately covered in the philosophy of Hegel, the understanding that the nature follows a cyclical continuity within certain laws is prevailing -and we can also see this notion in Auguste Comte and Karl Marx who were other important philosophers of the period. According to Aysevener, these philosophers "also stated that the progress takes not only the field of history, but also in the field of nature and these mutually require each other‖ (2001:178) As it is understood, historical continuity covers the laws of nature or the idea of a change forming in nature and turns into the reflection of a cyclic progress through creating a mutual dialectic. In this regard, scientific progress is possible through the increasing of knowledge and experience of the human being on nature and thus a parallel relationship is present between historicity and scientificity. As in the "we cannot comprehend a science unless we know its history" definition of Comte, all other vital issues within a certain historical phase create a linear or cyclic continuity, a mobility mutually influencing one another. In "historical materialism" of Marx, the history is again tried to be explained through similar dynamics. Accordingly, as in the fact that the historical continuity is the total of human acts, the historical actions within the concept of historical continuity are not unique (Rotenstreich, 1987:7; Aysevener, 2001:179). 19th century in which Enlightenment reached its climax covers the generalization of the idea of progress on nature-mind plane as a whole- almost all philosophers of this period leave the discourse of the traditional thinking prioritizing religion and belief, do not dispraise religion but put mind to the forefront. The superiority of human mind in terms of social history in both in science and art is located in the center of historical conscience and the idea of progress. Linear quality of historicity and progress constitutes the general understanding in this period in which human mind comes into prominence and the idea of progress acquires a concrete image parallel to the scientific developments. As seen in all examined philosophers, progress has a finite image leading from one condition to a better one. Darwin's theory of evolution is among the most important developments nourishing this idea. But another way of thinking brought along by the theory of evolution is the fact that humans are not different from or superior to the other living things -this expresses a development like the earth leaving its exclusive 17 As translated by Bozkurt, Hegel "comprehended history as the mobility of the spirit towards knowing itself. To comprehend world history as the progressing of the awareness of the soul, it is necessary to comprehend three structural items forming historical mobility. These are, 1) idea of soul 2) materialization devices 3) state which is the ultimate and competent objectification meaning the expression of the soul" (Hegel, 2009:131). 186 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 position as the center of the world with Copernican revolution. These developments contain a teleology similar to Marx's "classless society" ideology. In addition to reflecting a finite history design, all these developments also caused the re-inversion of progress logic to cyclicality from linearity. These samples presented from different areas are important for emphasizing the interactive side of progress; a change or progress in one area -whether it is the area of thinking (philosophy), biology, physics or space researches (science)- brings along radical changes in the ideology of the society and the effects of this change can be observed in almost every field (Tokdil, 2020:43). At the end of 19th century and the beginning of 20th century, it can be stated that an era of questioning started as the result of the political reflections of the optimistic point of view towards Enlightenment's idea of progress and a way of thinking questioning the past and future emerged instead of a history design leading towards the better emerged and finally progress was started to be seen as a myth. The idea emerging as the "end of history" in Hegel was presented as "myth of eternal return" in Nietzsche. Nietzsche asserting that degrading the idea of progress within the concept of the understanding of history is wrong was rephrased by Dauer as "started with an irreversible but infinite idea of time but ultimately reached a cyclic time with irreversibility" (1997:96). In other words, according to Nietzsche, history is not a period of constant forward-flowing, finite and purposive advancement and progress but has constant returns and breaking points -Thomas Kuhn among the defenders of contemporary science understanding in the same century built a cyclic model with breaks in the scientific developmental model. According to Işık; "One of the most important demonstrators of the loss of belief towards humanity progressing towards a better condition of humanity is the change observed in history designs in the 20th century" (2018:26). The idea of progress in history design also changed significantly with the social change, diplomatic and political ideologies and psychological reflections following World War II. Postmodern philosophers and Tonybee, Levi-Strauss, Frankfurt School philosophers standing against the understanding of linear flowing time presented important arguments in this direction. According to Işık (2018:28); ―(…) postmodernists object to the understandings regarding time as a chronological or linear thing" -which is parallel to Einstein's temporal fourth dimension concept and the developments in the field of science (materialized fact of time also left its place to perspectives of multiple perceptions and the understanding of multiple times). Popper's sense of history constituting the main aim of the research can be stated to be contrary to the idea of progress. But it should not be forgotten that this evaluation is based on the intellectual developments tangibly covering the idea of progress. Basic dynamics of the idea of progress are valid for the historical phase as a linear competence pursuit as emphasized. However, while the field of science can partially be excluded when a fact of the idea of progress is included within the scope of each field, no progressivism can be mentioned in the fields of art and philosophy since each (systems of thinking, cultural accumulation, sociological values, etc.) has its specific character and is inherently unique. On Popper's View on History and the Idea of Progress It was stated that the progressing idea of Enlightenment was questioned and progress became a myth at the beginning of the 20th century and Popper was also against the historical progress partially. But the impossibility of carrying the past to the future through the idea of progress was the main reason behind his opposition to the idea of progress-the future is unpredictable and predictions cannot be made for the future based on the experiences or tendencies of today. Similarly, the effort of making inferences based on past is also senseless. According to Popper; ―no progress law is available in history (…). Stating that history is a flow which should have at least one partially predictable reaching point is the trial of forming a theory from an image, a metaphor" (2016:219). Again, according to him, "seeing the past in a very different way from the future" is the thing that should be done. (2016:219). If the past is different from the future, today should also be different from the past and predicting the future is certainly wrong in this regard. According to Temiz (2017:654), "A compulsory inference considered to reflect the total of the social relations based on the knowledge of the past and the experience of the present and yet lacking empiric content lie outside the limits of science because the edge of science is falsifibility". Thus, theories and principles on the past forming the basis for presented predictions constitute the problem in the researches on history both in philosophy and social sciences. Having a unique character and surrounded by different values and needs, every period is the reflection of different paradigms and "it is a mistake to condemn history which has the human being as its transforming subject to a constant experience" (Temiz, 2017:655). Similarly, even though predictions can be made on future conditions or fact through generalization in natural sciences, an absolute prediction or generalization is still impossible. But the conclusion can be reached through experiment and observation on prediction and would lose its predictive character (design of the future) and take the form of present data. According to Popper; "It is impossible to talk about the understanding of certainty as nothing can be known definitely but we can talk about the search for truth: we accomplish this through the search for mistake undertaken for correction" (2016a:15). This approach defined as the principle of falsifibility in views on scientific progress and history of science also emphasizes the transience 187 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 of scientific truths -such as historical facts-. According to Popper who resembles science to "a structure erected on piles in a swamp (2015; 18); "(...) these piles are not down to any natural or given base. (…) piles have only found a firm ground for themselves only for the time being." The logic of scientific progress also depends on this metaphor; every theory trying to acquire a firm ground for itself in the swamp is condemned to change places with the new principles and theories after a certain time and is carried to the future only if it is strong enough and this is a problem related to the absolute character of knowledge. According to Popper, when the non-absolute character of knowledge18 is accepted, the way for scientific progress is paved and this should be the way followed both in nature and social sciences. A significant impossibility emerges in this sense when talking about the logic of progress in the field of social sciences and the definability of historical-social facts and events within certain meanings and explanations constitutes the reason for this. Another obstacle for making certain explanations on the tendency of history and the idea of progressing in the field of social sciences is the presence of "an infinite chain of sub-causes and results which can be described as randomness in history" (Aşkın et al., 2017:43). In this regard, "Not a direct cause-effect circle, but multi-factorial transitions are present between historical "past" and "future"" (Aşkın et al., 2017:43). But Popper also criticizes the attribution of these explanations and interpretations on psychological background. The method he asserts in terms of historical explanation and understanding is the model of three worlds partially followed by philosophy. According to him, the reality -our reality- is formed by three interconnected and partially intersecting worlds somehow interacting with one another (2016a:19). According to Popper, world 1 is the "world of entities and physical objects" while world 2 is the world of experiences, "world of human experiences" and world 3 is the "world of objective products of the human mind" (2016a:19-20). These worlds are interconnected and interacting and world 2 connects world 1 and world 3. Through a philosophical evaluation, Popper examines the philosophers based on their view on the presence of world 3. Philosophers in the first group -Platonists- "claim the presence of infinite realities. According to them, a clearly formulated statement is infinitely correct or incorrect" (Popper, 2016a:174). Based on this assumption, the human being may not have created the truth individually because the truth was present even before the human being. The philosophers in the second group -Dilthey, Locke, Mill, etc.- "agreed on the fact that infinite truths cannot be found by us and it is concluded that infinite truths are not present based on this fact" (Popper, 2016a:174). Popper disagrees with both groups at this point and defines world 3 as "a world which is both superhuman and a work of the humankind" (2016a:174). This world surpasses the understanding and comprehension dimension of each of us and the whole humanity and "the intellectual progress and the progress of world 3 are both provided through solving unsolved problems‖ (Popper, 2013:173-176; Temiz, 2017:657). Again according to Popper, "since many problems will still remain unsolved and inexplorable, critical and creative contribution practice will continue forever regardless of the autonomy of world 3" (2013:173-176). According to Popper, all living things are active; "all organisms function with all their power as problem solving entities. Their first problem is to survive. But there are many tangible problems emerging in different conditions. The most important of this is the problem to search better living conditions. It is the search for bigger liberties and a better world" (2016a:24). This is the demonstrator that all three words will continue their presence interactively in historical terms and thus the development/ progress will continue. From the point of historicity and social sciences, as stated by Temiz, "It is an obvious fact that a phase which is dynamic and open to change cannot be understood and explained through stable apriori laws and methods (2017:657). Since all sub-categories of the social sciences covering/dealing with a phase embodying variables caused by the human factor or the human being itself and human relations cover the explanations of certain events and facts within historical phase, they cast away from generalizing sciences of nature and thus "any scientific field in need of historical comprehension does not/cannot be in need of universal laws‖ (Popper, 2014:549). In the final analysis, even though the natural sciences and social sciences (in terms of explaining methods for reality) are distinguished through certain criteria from Popperian point of view, each continues to exist on an interacting plane as the product of a conscious urge to progress and the world we live in (reality) through creation/discovery phases "became more beautiful and brought along more joy of life as it is in constant mobility and in search for a better world" (Popper, 2016a:27). The idea of progress defined as the shaping of reality was defined as the mutual interaction of worlds 1, 2 and 3 by Popper meaning that it is shaped by a series of back and forth actions and a trial and error phase. As Popper stated, "we consciously intervene in this feedback spiral. We: human mind, our dreams, our targets. As the real owner of the resultant work or product, we are shaped together with our product (…)‖ (2016a:39). In this circumstance, it is understood that the shaping of the reality which is the reflection of the idea of progress is a product of the whole humanity, although nature sciences and social sciences have different reality searching 18 Non-absolute knowledge is incorrect or falsifible knowledge in Popper's logic of scientific progress (Popper, 2015:18). 188 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 methods, they are ultimately different images of reality and they arise from the mutual interaction of different worlds. Thus it is observed that Popper's view of history and idea of progress is against the positivist understanding, he defines the dream of progress as an effort to reach freedom from optimistic point of view and interprets the shaping of reality completely as our work. On The Idea of Progress in Art History As seen after the examination of philosophical approaches covered by the idea of progress, expression of each period or world view has brought up a system of unique new values. But comparing the thinking systems of two different periods and defending that one is more advanced brings along an invalid and meaningless result. Each idea is the reflection of another world in terms of the social values, historical conditions, cultural dynamics and economic and political issues (may be covered and examined within the context of different paradigms) and each of these different issues has different conditions. Thus, even if a progress is mentioned either in idea or in cultural field, this is not a tendency in terms of progress but in the form of a historical (chronological) continuity. According to Yazıcı (2009:116); ―Just like philosophical production, artistic production is an interpretation skill for human consciousness and presents an intrinsic resistance to objective criteria". The thing expressed by the concept of the objective criterion is the inability to compare the expression way of the other period in a better or more correct manner with a study made in a period in the field of art as in philosophy within historical continuity. Each has its unique character and the cultural values and character structure of the period in a prospective temporality within the scope of a certain historicity. For example, Velazquez‘s Las Meninas (The Maids of Honor)19 painting from 1656 (Image 1) was re-interpreted by Picasso almost three centuries later (Image 2) 20. At this point, it is certainly impossible to question which of the images are more advanced in terms of technique and competence (it is not a matter of an objectified perception of time within the context of historicity) and such an inquiry would be an invalid and wasted effort. Although every piece has its unquestionable aesthetical value, it is a social reflection right because of this reason. Although each work has important reflections on its century or aesthetical language within the understanding of realistic or cubist shaping, it also indirectly presents the interaction of different periods with science or thinking. While interacting figures and backward deepening layered background perception were created in Velazquez's painting, a temporal deepness was also created through the location of these figures on these planes. The mentioned temporality turns into the reflection of time-space understanding emerging under the effect of scientific progress and temporal fourth dimension concepts in Picasso's art. As much as the place it is located in, the object also changes the sensed time and pictorial representation finally becomes the expression of such degradations. Thus it can be stated that every study carrying the scientific progresses as much as the values of its source country through pictorial representation is also a product of these different dynamics from a retrospective point of view. So every study has incomparable characteristics and an evaluation within the idea of progress among them is impossible. 19 Velazquez's Maids of Honor painting illustrated a young girl (princess) located in the center and a crowd surrounding her (maids, dwarf figures). Figures reflected from the mirror on the background are estimated to be the king and queen. The artist portrayed himself working on the canvas on the left-hand side and according to Krausse; "(...) an extraordinary illusion in which the reality and illusion were indistinguishable was created" (2015:39). 20 Velazquez's work was reinterpreted by Picasso in a series of works and it was restructured by different artists in different periods within the aesthetical concerns of the periods. The most prominent ones among these artists and interpretations are Richard Hamilton, Joel Peter Witkin, Sophie Matisse, Nicholas de Lacy-Brown, Lluis Barba, Alejandra Zapata and Yasumasa Morimura. The work of Hamilton is separated from others as it re-interpreted Maids of Honor by Picasso, not Velazquez (copy of the copy). The mentioned work was also covered in artistic production within ironic course in Coca Cola commercial films and different fashion magazines. For detailed reading on the subject, see Tokdil, E.(2017). Velazquez‘in Nedimeler Tablosuna Postmodern Estetik ve Yeni Medya Açısından Yeni Bir Bakış‖ (A New Look at Velazquez's Maids of Honor painting in terms of Postmodern Aesthetics and New Media, Asos Journal, 5(53):474-490. 189 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Image 1. Diego Velazquez, Las Meninas, 1656 / Image 2. Pablo Picasso, Las Meninas, 1957 Similarly, the woman figure portrait presented by Albrecht Dürer in the 16th century changed its shaped in the cultural environment of the 20th century and the reality understanding of the artist and was re-interpreted in Alberto Giacometti's design. According to Berger (2006:10); "An image is a recreated or reproduced perspective. Image is a system of an image or images torn and preserved from the initial place and time of existence for a few minutes or centuries. Every image beholds a different way of seeing (...)‖. Thus, it is concluded that the perception of reality recreated in these works is caused by the differences of the seeing ways of the artist as much as the taste judgments of different worlds. Again a value distinction between the two studies is impossible and meaningless due to this reason. Another subject to be emphasized on both studies was the fact that image production phase did not start in nature. Picasso took Velazquez's work as the starting point and Giacometti transformed Dürer's painting into his own reality. At this point, remembering Plato's allegory of cave, it can be understood that these works have the position of "the copy of the copy" as the redesign of a subjectivity with its starting point formed by nature, the objective reality. But again, a distinction cannot be made within the context of value and only technical analyses can be performed within certain limitations at concept dimensions. One of these is an examination in terms of the perception of beauty. The traces of the understanding of beauty can be led back to Ancient philosophy just like the idea of progress. For example, each concept or object which can be defined as beautiful according to the mimesis theory of Plato has been a reflection of the world of ideas most basically; the view that "the real form of everything is available in the world of ideas and everything present on this world are good or bad imitations of the ideas" was claimed (Turan, 2015:2). Contrary to this world perceived through the senses, world of ideas is perceived mentally and this is actually among the most tangible demonstrators of its unassessibility through objective criteria (Gültekin and Tokdil, 2016:364). Contrary to Plato, Aristotle defines that the idea is shaped in the hand of the creator, beyond the nature itself and thus the reality emerges neither in nature or any other place but is present in the mind of the creator and the presented work. While Plotinus praises the sensible world over the perceptible world, Leibniz in German aesthetics expresses beauty as a transcendent essence which can be reached through knowing (knowledge). The concept of beauty is mentioned as the "competence of perceptible information", the beauty of an object is nothing more than its harmony with its constituents" (Sena, 1972:28). While Hamann emphasized the importance of imagination in creation, Kant provides a general description providing profitless pleasure. While Mendelson defines the perception of beauty as ―Divine Beauty‖, Schiller depicts artist as an individual playing with nature (Gültekin and Tokdil, 2016:368). According to him, beauty is "life, the living form. Erasing of the object through shape constitutes the real secret of a great artist.‖ (Sena; 1072:38) According to Hegel defending the superiority of art over nature, nature can be changed and transformed in a work of art and thus the concept of beauty can be reshaped. As we can see, the mentioned philosophers and others interpreted the understanding of beauty differently either in nature or art itself and covered it in their understandings of thinking within the concept of the visual and philosophical data of the world they live in. But, as we understand, even an inquiry through the concept of beauty alone reaches different subjectivities and the uniqueness of how the human being approaches and perceives the nature constitutes the basis of this. So, the concept of beauty cannot be discussed both in philosophy and art as in other sciences and the idea of progress stays limited only with the understanding of historicity. 190 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Image 3. Albrecht Dürer, The Suicide of Lucretia, 1519 / Image 4. Alberto Giacometti, Dürer's Sketch of Lucretia, 1911 Although the distinction of "better" among the art works of different periods is impossible in ontological terms, some simple criteria may be present. These are; 1. As the works of different periods are the product of a more advanced society in terms of historicity and scientificity, they can be named as the reflection of "a better world" but this may only be a product of the idea of progressing in time. 2. Since the objective reality of every work of art is degraded to subjective criteria by its artist, we can say that "a better world" was created within its own uniqueness but each have its own aesthetical value in historical concept and again the comparison of "the better" is impossible among these values. 3. Every work of art is the product of the projection of its original society and the values and taste criteria of this society on the mind of the artist and thus while a comparison among different periods can only be made among the historical conditions, technological developments and other independent ideologies of the period, the field of culture stays outside this concept. 4. Different fields cannot be covered as a whole based on a single common evaluation criterion, each represent different dimensions of a certain historicity although they have their own internal dynamics and the objective criteria of a scientific progress and the unique progress criteria of the fields of philosophy and art are different accordingly. 5. Works of art presented since ancient time have been the reflection of not only the perceptible world but also the sensible world, in other words not only the object but also the subject are among the main dynamics of creation and thus while absolute criteria can be mentioned in nature arts, a variability and uncertainty caused by human factor is present in the field of culture. Hence, a value distinction or rating of "the better" among Renaissance, Middle Age or modern painting is related to the degree of creating a special similarity with human spirit. But when the history of science not covered within the research subject until today is examined, since each new theory and principle is inherently presented with the argument that it is better than the previous, we can say that it has the concrete image of the idea o progress and moreover, the tendency towards "the better" becomes an absolute obligation. As narrated by Işık (2018:16), "Collingwood righteously stated that progress is not the replacement of the bad by the good but the replacement of good by the better as it covers the idea of 'constant healing' laying between the past and present. To consider a change as a progress, the individual making this change should think that the thing to be changed is certainly good" (Collingwood, 1990:314). But it should be stated that the tendency and progress towards the better is not always linear as seen in the historical phase of the idea of progress examined here at the beginning of the research. Within a certain historicity, science progressed linearly up to a point and old theories and principles were replaced by new ideas and researches but this change and progress also brought along returns, detachment and pauses within a certain content starting from a certain time. To better define the impossibility of the idea of progress towards the better in the field of art, this distinction can clearly be understood based on the mutual dialogue between science and art. Both are certainly presented to overcome a certain deficiency but this deficiency appears as the replacement of the good by the better as the search for a better world in science and for different causes and most importantly as the expression of inner sensation and as a liberalization effort in art. Even though the starting point is the objective reality in both science 191 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 and art, both refer to the image in creation/discovery phase. According to Işıldak (2008:68), "The scientist tries to prove and the artist tries to visualize the different connections they constitute among images". However, while a progress phase in which each discovery depends on a previous one can be mentioned in the field of art, each new production and statement has its own specific identity and can be defined as a field of freedom in this regard. To have a scientific value, a theory on a fact should be verifiable or falsifible, its objectivity is an obligation in this regard but the complete opposite is valid in case of an art creation or cultural product. Assessment and interpretation of the object of creation, the artist him/herself have a subjective character. Hence the idea of progress in the field of art cannot be assessed based on the covered criteria while defining scientific reality. But it should not be forgotten that both are different interacting faces of the present world which is constantly in motion. Art as Search of a Better World As also examined under the previous heading, while the idea of progress is an absolute concept in terms of scientific reality, it is understood that the idea tried to be defined by progress in the fields of philosophy and culture is a phase completely different from scientific progress. Although any superiority cannot established in art works and thinking ways of different periods, this phase can be defined only by the constant increasing of the information levels of societies or individuals (tendency towards the better) and as this does not take place only through the dynamics in the culture itself, a progress only in cultural dimension is a reality which can be acquired through the holistic examination of different fields -from the Popperian point of view, it is a phase created by the interaction of worlds 2 and 3. However "transmission of acquired information constitute the basis of progress" according to Carr and history is the "transmission of acquired information between generations" (1972:158-159; Aysevener, 2001:184). Tonybee stated that "each new culture takes over the legacy of the previous culture and contributes to it (1978:175). Although a progress is possible in this regard, this cannot go beyond the idea of a historical progress because the legacy of the past is not the starting point when works of art are considered and the values, historical conditions and other vital issues of the society undertake the triggering role of creation. The famous "dwarves perched on the shoulders of giants" metaphor of Bernard of Chartres also presents a reflection of the idea of progress which is similar to the approach of Tonybee. According to the statement defined in Metalogicon as narrated by Calinescu; "(...) the cause of knowing more is not based on our forging ahead with our own natural skills but on the support we take from the intellectual power of others (...) The reason for us to see more and farther places compared to our antecedents is not our sharper sight and tallness but the fact that we were taken from the ground and stood on their giant necks"(2013:23)21. This approach is also the definition of the phase covering the works of Renaissance period. The aim of these philosophers was not to make a prediction for the future but to know and understand their own centuries eluded from the past. Popper also defended a similar idea with his statement "all life is problem solving". According to him, "correction of mistakes is the most important method of technology and learning. This appears as the only method of progress in biological evolution (…)‖ (2016:204). This is the way also followed by the artist in a similar way but continues to progress on his/her own pathway after a certain point and this pathway always pursues the design of a better world. Leaving his/her original world while re-dimensioning the external reality in the sensation and perception of objectivity and transforming it into a work of art, performs a mental degradation and creates a better reality for him/herself. As the scientist reaches the better within the concept of nature sciences through falsifying the old theory (from Popperian perspective), old (different historical periods and cultural values are expressed by old here) ways of thinking and shaping understandings gain new visual characteristics as the artist chases liberty, they acquire new meanings and transform into the reflection of a new world -a better world-. Linear and cyclical progress as temporality in historical terms exists in the mutual dynamic and interacting volute of different dynamics, different paradigms and the world of facts and the world of thinking and is shaped by humans. Thus when we talk about historicity, it is also necessary to define the shaping culture (named as world 3 21 This statement is included in the famous letter written by Newton to Robert Hooke. Here, Newton "accepts the values of his antecedents Descartes and Hook and also very clearly persists that they are much superior to his value by calling them as "giants" (...)" While stating his views on Newton's revolution, Koyre repeats this metaphor one more time and states "If Newton saw as far as he could see and farther than the philosophers before him, the reason for this was the fact that he was a giant standing on the shoulders of other giants" (Koyre, 2006:19; Tokdil, 2020). For detailed reading, see Koyre, A.(2006). Bilim ve Devrim Newton (Translator.Küçük, N.). İstanbul:Salyangoz Yayınları. 192 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 in Popperian philosophy), not only to understand or explain it. Culture can be defined through covering scientific realities, social relations, ways of thinking, economic relations, political values and psychological background as a whole. Each of these dynamics play a mutual role in the shaping of the reality of a certain period or a historical phase (the realization of progress) and form an interacting dimension, a volute. Cyclical samples as much as linear ones are also available for progress within the context of cultural history or art history in a more specific sense. The periods in which its reflections from the perspective of art are observed most clearly are samples in which the point of view remains unchanged in modern-postmodern dilemma but the formal language changes through social change. As also stated by Yılmaz (2013:519); "the old understandings do not disappear when a new understanding emerges and they continue to live together with the new ones for sometime. And if they are strong enough, they even penetrate in the new ones and integrate with them" -and this is the most important proof of the fact that the idea of progress is not only linear. For example, while cubism is modern in one respect, synthetic cubism pioneered formal understandings of postmodernism such as installation. Similarly, minimalism is the dimension acquiring form of suprematism. Although two different terms and periods as modern and postmodern are covered fundamentally, this does not mean "two separate entities, but a single entity which transformed. Modern art became postmodern through transformation. Maybe the presence today will have a different form and content tomorrow" (Yılmaz, 2013:520). This is about historical progress in temporal terms and humankind as an artist bringing past experiences together with its own reality, degrading objectivity to separate subjectivities and each of these different subjectivities being the expression of a better world. The search of a better world does not concretely lead the artist to a certain aim but the emerging result is always the reflection of the better as in the falsified theories and principles in nature sciences. As analyzed above in detail, it is certainly not possible to mention "the better" in the field of art, but we can only talk about the design of "a better world" or the image of this world. This partially provides the chance to compare and interpret works of art among different periods. As stated by Huelsenbeck, the artist is definitely a creation of the age s/he lives in and is connected to it but the power of creative imagination and the power of art can take the artist far beyond this age, create a new world and this world will be a better world than the one the artist lives in. Conclusion The concept of progress is observed to have two different meanings based on the examinations; the first is the idea of progress meaning development in the method followed by science and emerges as the result of prospective linear or cyclical verification or falsification phase within a certain historicity. The second meaning is the one which brings the more complicated structure of the concept and the question whether there will be a progress in the field of culture within the concept of the research to the agenda and covers the action with a certain aim and also the internal and external dynamics of the tendency. The change taking place in progress based on different physical conditions and ways of thinking is not a reality which can be reached through the analysis of the dynamics within a single world as it is seen. An interacting and constantly moving volute is available and absolute and valid truth cannot be reached without performing related analysis of the different dimensions of this structure and examining reciprocal changes. But as also emphasized within the context of the research, different meanings are assigned to the idea of progress as each of the different fields has its own specific values and variable dynamics. In other words, separate evaluation ways are required for the progress logic of science field and the physical appearance of historical progress and also for the intellectual values of philosophy and the creation ways of culture. But the progresses within each field are fundamentally presented for a reason or aim which is "the search for a better world". While science shapes today in a quest towards the future, art turns within itself from today and again presents its own reality within the reality of a better world. This search will never end as long as the passing of time, changing of idea, changing of the world by technology and existence of vital values continue. References Aşkın, Z., Durgun, S. ve Geçit, B. (2017). Tarih Felsefesinde Nedensellik Sorunsalı. Konya: Çizgi Kitabevi. Aysevener, K. (2001). ―Bir İlerleme Tasarımı Olarak Tarih‖. Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi, 41(1): 171-186. Berger, J. (2006). Görme Biçimleri. İstanbul: Metis Yayınları. Bravo, I. B. (2005). ―Tarihin Sonu, İlerleme ve Küreselleşme Üzerine Bir İnceleme‖. C. Ü. Sosyal Bilimler Dergisi, 29(2): 125-138. 193 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Calinescu, M. (2013). Modernliğin Beş Yüzü- Modernizm, Avangard, Dekadans, Kitsch, Postmodernizm (Çev. S. Gürses). İstanbul: Küre Yayınları. Carr, E. H. (1996). Tarih nedir? (Çev. Gürtürk,M. G.). İstanbul: İletişim Yayınları. Carr, E. H. (1972). What is History? New York: Alfred A Knoph Inc. Cassirer, E. (1984). Devlet Efsanesi (Çev. N. Arat). İstanbul: Remzi Kitabevi Concordet, M. (1990). İnsan Zekasının İlerlemeleri Üzerinde Tarihi Bir Tablo Taslağı I-II (Çev. O. Peltek). İstanbul: Meb Yayınları. Collingwood, R. G. (1946). The Idea of History. London. Collingwood, R. G. (1990). Tarih tasarımı (Çev. Kurtuluş Dinçer). Ankara: Gündoğan Yayınları. Dark, T. E. (2007). ―Reclaiming the future:space advocacy and the idea of progress‖, Societal Impact of Spaceflight, Dick, Steven J., Roger D. Launius (Ed), NASA, 555-573. Dauer, D. W. (1997). ―Nietzsche ve zaman kuramı‖ (Çev. Alp Tümertekin). Cogito Dergisi, Sayı 11, s. 83100. Fetscher, İ. (1997). ―Tarih felsefesi‖, Günümüz Felsefe Disiplinleri içinde (Çev. D. Özlem). İstanbul: İnkılap Kitabevi. Gökberk, M. (1997). Kant ve Herder‘in tarih anlayışları, İstanbul: Yapı Kredi Yayınları. Gültekin, T. ve Tokdil, E. (2016). ―Güzel Kavramı Üzerine Karşılaştırmalı Yorumbilimsel Bir İnceleme‖. Uluslararası Sosyal Araştırmalar Dergisi, 9(47): 364-375. Hegel, G. W. F. (1995). Tarihte Akıl (Çev: Önay Sözer). İstanbul: Kabalcı Yayınevi. Hegel, G. W. F. (2009). Hegel (Çev. Bozkurt, N.). İstanbul: Say Yayınları. Hilav, S. (2010). Felsefe El Kitabı. İstanbul: Yapı Kredi Yayınları. Işık, S. (2018). ―Akideden Mite: Antikite‘den 20. Yüzyıla İlerleme Kavramı‖. Gaziantep University Journal of Social Sciences, 17 (1), 15-31. Işıldak, R. S. (2008). ―Yaratmada İlk Adım: İmge ve İmgelem‖. Necatibey Eğitim Fakültesi Elektronik Fen ve Matematik Eğitimi Dergisi, 2(1): 64-69. Kahraman, H. (2016). ―Çağdaş Felsefe Öncesi Düşüncede Akıl-İlerleme İlişkisi‖. Atatürk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 20(4): 1519-1533. Koselleck, R. (2007). İlerleme (Çev. M. Özdemir). Ankara: Dost Kitabevi Yayınları. Meier, C. (2007). ―Antik dönemde ilerleme‖, İlerleme (Reinhart Koselleck) içinde 2. Bölüm, Çev. M. Özdemir, Ankara: Dost Kitabevi Yayınları, 23-36. Önkal, A. T. (2018). ―Pre-Sokratikler Naturalist Dönem‖, İlkçağ Felsefesi E-Kitap. Eskişehir: Anadolu Üniversitesi. Özlem, D. (1996). Tarih Felsefesi. İstanbul: Anahtar Kitaplar. Özlem, D. (2004). Tarih Felsefesi. İstanbul: İnkılap Yayınevi. Rotenstreich, N. (1987). Time and Meaning in History. Dordrecht: Reidel Publishing Company. Temiz, S. (2017). ―Sosyal Bilimlerde Yöntem Problemi: R. Karl Popper Örneği‖. Uluslararası Sosyal Araştırmalar Dergisi, 10(54): 653- 659. Timuçin, A. (2009). Düşünce Tarihi 1, Gerçekçi Düşüncenin Gelişimi. İstanbul: Bulut Yayınları. Tokdil, E. (2020). Bilim Felsefesinde Paradigmatik Yaklaşım Kapsamında Sanat ve Bilim İlişkisinin Lisansüstü Sanat Eğitimi Programlarına Yansımaları. Yayınlanmamış Doktora Tezi. Dokuz Eylül Üniversitesi Eğitim Bilimleri Enstitüsü, İzmir. Tonybee, A. J. (1978). Tarih Bilinci (Çev. M. Belge). İstanbul: Bates yayınları. 194 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Turan, E. Y. (2015). "Platon'un İdealar Kuramı Ekseninde Mimesis Olarak Sanat". Tarih Okulu Dergisi (Journal of History School), Cilt 8, S. 22, ss. 1-8. Popper, K. R. (2013). Tarihsiciliğin Sefaleti (Çev. S. Orman). İstanbul: Plato Yayınları. Popper, K. R. (2014). Açık Toplum ve Düşmanları. Ankara: Liberte Yayınları. Popper, K. R. (2015). Bilimsel Araştırmanın Mantığı. İstanbul: Yapı Kredi Yayınları. Popper, K. R. (2016a). Daha İyi Bir Dünya Arayışı-Son Otuz Yılın Makaleleri ve Bildirileri. İstanbul: Yapı Kredi Yayınları. Popper, K. R. (2016). Hayat Problem Çözmektir-Bilgi, Tarih ve Politika Üzerine. İstanbul: Yapı Kredi Yayınları. Yazıcıoğlu, S. (2009). ―İlerleme Düşüncesine Yönelik Eleştiriler ve Bir Değerlendirme‖. Sosyoloji Dergisi, Sayı 19, s. 111-125. Yılmaz, M. (2013). Modernden Postmoderne Sanat. Ankara: Ütopya Yayınları. 195 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Symbolic Meanings of Objects in Beuys' Works Fergana Kocadoru Özgör Balıkesir University, Fine Art Faculty Painting Department fkocadoru@gmail.com Abstract When we examine it in terms of his life story, Joseph Beuys is among the unique artists. In his autobiographies, his plane crashed in the Crimean skies while serving as a fighter pilot in World War II and was allegedly found here by the Crimean Tatars as he was about to freeze. During this time, the German artist Joseph Beuys studies shamanism in depth, makes experiments and makes observations. From the point of war, nationalism, the artist, who will have a vast existential knowledge such as inner peace, nature, spiritualism, nature and human relations, will associate the avant-garde with Eastern spirituality after an accident that seems unlucky. Beuys will have the opportunity to explore the connections between the Fluxus movement and Eastern philosophy and spiritual practice, analyzing the symbolic, healing aspects of felt, cloth, and honey in both Tibetan culture and Beuys' art in an aesthetic direction. Beuys will advance avant-garde reading by inventing his methodology from material that represents the object of inquiry. Shamanic objects will offer a healing and positive meaning for the artist, and at the same time, in the light of his views that will guide the new combinations of life, art and thought, will encourage the viewer to think on modern art. The artist, who transformed from cultural identity to a person who values ??human beings, nature and living things as a soldier, citizen, has succeeded in questioning the failures and disappointing decisions. While Beuys includes shamanist images in his works, he is a guide that shows many artists who will come after him in the way of integrating the object of nature into art. Each object, animal, food item used in the artist's performances has a symbolic meaning. It presents symbolic meanings such as heat or energy, honey, trust and belonging, felt, guide and spiritual energy, flashlight, rebirth, blood. Beuys has brought performance art to very different points with his philosophical work such as destroyed dreams (militatarism, the collapse of radical ideas), the discovery of his own self, our place in the life cycle, and existential questioning. In a sense, the felt he hugs to hold on to life has become an object of rebirth and spiritual healing for the artist. In this study, an academic research will be made on the healing power of objects used by the artist in the light of Beuys' autobiographies and philosophical views, especially in the light of Eastern beliefs and philosophy. Keywords: Beuys, Shamanism, symbols, Performance Art Socio-Economic Features of the 1960's With the end of the Second World War, the world has suffered a great trauma. Millions of soldiers killed on the front lines; bombed cities, and especially the atomic bomb dropped on Japan and the fragmentation of the atom also shattered the self and identities of people. The world is divided into the socialist East and the capitalist West; With increased polarization, insecurity, alienation, the idea that human beings are unreliable, malevolent and power-worshiping creatures came to the forefront, all the rules and fears of the past and the past have been questioned, especially art and anxiety and expectations have changed, and the idea that nothing should be the same as before has come to the fore. The intensity of work, the exhaustion of the urban mobility and the regional and international problems faced every day, the researches and weapons that threaten humanity and whose end is unknown, do not leave the time and hope to establish their own world there, as well as the physical structure and the nervous system (Turani,1998, 108). The cold war in Europe and the transfer of American cultural elements and norms to Europe have accelerated, and this has accelerated the opposition and absurd elements to come to the fore. Now, the desperate people of the age have fallen into a situation that consumes everything quickly, in an effort to get what they want immediately, by living quickly as if the crushing, future is in danger. 196 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Development of Art in the Years of 1960s America proved to be the center of art after the war, captured it with movements such as abstract expressionism and abstractionist art after painting, making it the focus of historical, hence doctrines, ideological high modernism (Kahraman, 2002, 193). Conceptual art and performance art refused to remain neutral against the political struggle and took actions of their own. But in American society, the action as a work of art has begun to turn into violent protest actions. By May 1969, 471 actions were reported in the last two years. In November 1971, a Californian artist named Chris Burden had a friend shot himself in the arm with a rifle (Clark, 2004, 169). Anti-war and feminist artists generally exhibited their works in the streets to reach more people. However, the powerful institutions in the art system have begun to be questioned. Fluxus and Joseph Beuys in Germany While Beuys focused more on the spirit and meditation in the art activities he conducted, allowing his audience to concentrate and focus there, another artist named Dieter Roth criticized the process of 'creativity' in an ironic and sarcastic manner (de.wikipedia.org, 2012, 2012). Beuys‘s reply is crucial to understanding both his sense of the scope of meaning of ―everyone is an artist‖ and his argument against Duchamp‘s silence, which Beuys could not help himself from understanding as a refusal to bear the responsibilities that Duchamp‘s work ought, in Beuys‘s view, to have entailed. Indeed, Beuys‘s indictment of Duchamp sets into clear relief his own inability ever to remain silent: he waxed prolific on every existing subject and even inventesubjects in order to keep up with his discursive drives (Thompson, 2011, 81). Joseph Beuys was born in Krefeld, Germany in 1921, and his childhood passed in this city. In his autobiography, which he wrote before deciding to become an artist, Beuys mentions the city he spent his childhood in as a place where pain and plaster mix. This city on the Dutch border was at that time a strange and painful place with sand and bushes. Who can guess that this child will make the thought of pain the main material of his art in the later stage of his life, that he will come to the fore as an important artist, that this is his destiny? (Yılmaz, 2006, 272). Beuys, who was fond of nature at an early age, spent a childhood doing chemistry experiments with animals and in his own way. Thinking that he had lived before, he was depressed and attempted suicide at the age of five. He overcame this crisis with the help of his family. Beuys attended the circus at the age of fourteen and traveled with them, although a sculptor in Krefel was offered to work with him. Since natural events have always attracted his attention, he dreamed of healing people and nature. During the war, his plane was shot down around Crimea. Many of his friends died, while Beuys was seriously injured and suffered concussion. When he was about to die, the Crimean Tatars rubbed grease on his body, wrapped it with felt, and was saved from death in this way. He remained a prisoner of war until 1945. According to what he told, he had nightmares and writhed with guilt during the years he was imprisoned. This time he started to deal more closely with the problems of the future of Man. We can guess that Beuys was preoccupied with these issues because he got involved in philosophy without being a prisoner of war (Taylor, 2012, 20) When he regained his freedom and returned to Germany, he started his medicine education. But he gave up and applied to the Düsseldorf Art Academy. When he was accepted, he worked with an academic called Enseling and later became a student of Elwald Matare, who thought about closer and natural relationships with him. Now, Beuys' view of art was slowly taking shape. Joseph Beuys started teaching sculpture at the Düsseldorf Academy. According to Beuys, human is a sculpture endowed with thought, emotion and will. Students from different fields also came to Beuys' lectures. Beuys' lectures were artistic acts in which thoughts were conveyed. In 1967, one of the leading founders of the German Student Party was accepting students. In 1972, he was dismissed from the Düsseldorf Academy. The school administration made an excuse to admit 300 students to classes that year. But the main reason was that Beuys posed a danger to the administration. On top of that, he founded the Free International University a year later. He took the students who were expelled from the Düsseldorf Academy or who were eliminated in the first exam. The professors working here did not have a certain civil service agreement. In the program of the school, in line with the expanded art thought, besides the art courses, courses such as sociology, philosophy, psychology and science and economics were also included. The goal of the Free International University was to unleash the creative power in students. The school would serve as a bridge between the individual and the society (Yılmaz, 2006, 281). Later, Beuys became one of the founders of the Green Party in Germany. He died on 23 January 1986 in Düsseldorf. 197 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Symbolic Meanings of Objects in Beuys' Works This work is exhibited in the Block showcase in Darmstadt's Land museum. The work consists of a wooden, white-painted kitchen chair, and the area between the crevice of the chair and the sitting part consists of a pile of margarine cut in a triangular shape. The amorphous structure of the oil substance creates a contrast with the hard solid structure of the wood. However, the oil mold in this chair was solidified, and the sides were straightened with a knife and tried to harmonize with the hard structure of the chair. This expanded notion of art refers to problems that cannot be solved within this society, whether at the level of economics, law, or education (schools, universities). (Farago, 2006, 255). This work of Beuys is also a reference to his theory of sculpture. According to Beuys, sculpture is a tool of inquiry. It is a force that creates controversy over those who question culture and language. (image 1 ). Image 1: Joseph Beuys, Fat Chair Installation view of Joseph Beuys‘ Fat Chair, 1964, exhibited during Joseph Beuys, November 2, 1979–January 2, 1980, Solomon R. Guggenheim Museum, New York. Photograph by Mary Donlon. Beuys shows that he is fully aware of the psychoanalytic connotations of fat: The fat on the ―Fat Chair‖ is not geometric, as in the ―Fat Corners‖ but keeps something of its chaotic character. The ends of the wedges read like a cross section cut through the nature of fat. I placed it on the chair to emphasize this, since here the chair represents a kind of human anatomy, the area of digestive and excretive warmth processes, sexual organs and interesting chemical change, relating psychologically to will power. In German the joke is compounded as a pun since Stuhl (chair) is also a polite way of saying shit (stool), and that too is a used and mineralized material with chaotic character,reflected in the texture of the cross section of fat (Taylor,2012,17). This worked perfectly with Beuys‘s installation and contributed to the feeling of being propelled through a carefully charted journey, a descent. That it was a specifically German trip was reinforced by the brilliant 1969 sculpture The Pack (Image 2), featuring a real Volkswagen bus with twenty-four vintage German wooden sleds spilling out of its trunk, each bearing a role of felt, a lump of fat, and a flashlight. The Volkswagen, the ―people‘s car,‖ with origins in the Nazi period, had, like Beuys himself, been refunctionedin the 1960s into a countercultural icon. The pack of sleds, like alpine St. Bernards,suggests a winter rescue, while the Beuysian offerings of fat, felt, and batterygeneratedlight take the place of brandy. The art historian and critic Donald Kuspit has interpreted these sleds as Beuys‘s Rosebud, objects cathecting his resentment of bad parenting before and during the Nazi period and his ―need to be rescued and healed from childhood‘s wounds (Chamtetzky, 2010,169). 198 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Image 2:Joseph Beuys, The Pack (Das Rudel), 1969, 1961 Volkswagen bus, twenty-four sleds, each equipped with fat, felt blanket, braces, and flashlight, ca. 200 × 400 × 1000 cm. Neue Galerie,Museumslandschaft Hessen Kassel. Art © 2010 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Photo: Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Joseph Beuys and Politics Beuys' policy was his art. More precisely, art-politics-education was one and the same thing in his eyes. Although he sometimes says "I have nothing to do with politics", he meant the policy of those who exploit people and nature for their own interests (Yılmaz, 2006, 280). Joseph Beuys thought it was pointless to blindly adhere to a political view. For example, in the Karl Marx square in Berlin, leftist groups were looking at May 1 meaningfully, but found these quarrels unnecessary. Without joining one of this group, the artist and two of his students, one Asian and the other African, swept the dirt polluted by the crowd after the rally was over and filled the garbage in bags. Later, these brooms and leftovers were exhibited in the gallery space. In 1972, the artist gave a speech from morning to evening in Kasselde for 100 days. The purpose of the conversation was the social gap between men and women. Parties have not regulated housewives for years. According to Beuys, men and women are equal, housewife is not a duty but a profession. Therefore, housewives had to be financially and socially secured. In this talk, Beuys described himself as a speaking, philosophical sculpture. References http://de.wikipedia.org/wiki/Fluxus Chametzky Peter. Objects of History In Twentıeh Century German Art. Unıversıty of California Press: London, 2010. Clark, Toby. Sanat ve Propaganda. Çeviren: Esin Hoşsucu. Birinci Baskı. İstanbul: Ayrıntı Yayınları, 2004. Farago, France. Sanat. Çeviren: Özcan Doğan. Birinci Baskı. Ankara: Doğu Batı Yayınları, 2003. Kahraman, Hasan Bülent. Sanatsal Gerçekliler, Olgular ve Öteleri. İkinci Baskı. İstanbul: Everest Yayınevi, 2002. 199 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Taylor, Marc C. Refıgurıng the Spırıtual. Colombia Unıversıty Press: New York, 2012. Thompson, Chris. Felt, Fluxus, Joserp Beuys and Dalai Lama. Unıversıty of Minnapolis Press: 2011. Turani, Adnan. Çağdaş Sanat Felsefesi. İkinci Baskı. İstanbul: Remzi Kitapevi, 1998. Yılmaz, Mehmet. Modernizmden Postmodernizme Sanat. Birinci Baskı. Ankara: Ütopya Yayınevi, 2006. 200 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Treating Mourning and Sorrow with Salt: Ritual Installations by Yamamoto Ersoy Yılmaz Çankırı Karatekin University- Faculty of Art, Design and Architecture ersoyyilmaz@windowslive.com Abstract Motoi Yamamoto (b.1966) is one of the important names representing Japan in the global art scene. A new phase begins in the life and art of Yamamoto, who lost his sister from brain cancer in 1994. After this date, the only material of the artist is salt, which was attributed to the values of protection from evil forces and inner purification in ancient Japanese culture. But the main thing the artist hopes from the salt is that it will be a bridge that will reconnect him to his sister's memories. In performing his site-specific installations, Yamamoto gently pours salt onto the floor in absolute silence and a kind of ecstasy. At the end of this patient-filled act of long hours, a labyrinth-like formation, an organic order processed like lace, emerges. This is a monumental creation in which the thousands of tiny cells surrounded by salt serve as reservoirs in which not only the artist but also the audience's memories can accumulate. The show ends with this monumental structure being dissolved and the salt returned to its original place, the ocean. While Yamamoto's art makes one think about the high status of salt in pre-modern times and the meanings of this essential mineral in different cultures, it also calls into question the concepts of time, memory and life cycle. But the main element that stands out in the ritual installations of the Japanese artist is that a contemporary (post-modern) art practice is used as a way of dealing with mourning and grief. Keywords: Motoi Yamamoto, salt, art, installation, ritual Introduction Materiality, which refers to the physicality of the art object and the material or materials used in its production in art theory, is one of the prominent concepts in the art world. In this context, materiality "has evolved out of formalism‘s interest in the purely visual aspects of art and structuralism‘s interest in context and communication. The artwork‘s physicality, those aspects that can be sensed and verified by viewers, is the first consideration; physicality impacts content and, subsequently, meaning"(Mills, 2009, p.1). Of course, these attributes are closely related to the content and ultimately the meaning of the work. In recent years, a "material turn" in contemporary art has reactivated critical debates about the substance, material and their influencing properties of artistic objects (Moschovi & Graham, 2020). Zuzanna Jakubowski points out that this is often seen as a reaction to the rise of the digital and a yearning for the authenticity of the "real", yet these forms of avant-garde realism seek to create an effective experience within themselves rather than a representation of reality (Ireland & Lydon, 2016, p. 3). According to Lange-Berndt (2015), who says that materiality has reappeared as a highly contested topic in recent art, modernist criticism, which sees matter as the essentialized basis of medium specificity, tends to keep form superior to material, is insufficient for today's art. Referring to the hair in David Hammons' installations or the milk in Dieter Roth's work, the author emphasizes that today we need very different methodological tools for examining the meaning of the work. In the context of the prominence of materiality in the global art environment, there are many more artists that can be added to Hammons and Roth, and many organizations that deal with this issue. For example, in a blog linked to M +, a contemporary visual culture museum founded in Hong Kong in 2012, it is stated that for many contemporary artists materials are increasingly the actual subject matter of their work, rather than a tool through which to convey ideas. In this direction, in the blog, the immersive bamboo structure named In the Peak (2019) built by Liang Shuo (b.1976, Tianjin in northern China) on the terrace of the aforesaid museum is mentioned (M + Stories, 2020). Nanna Hjortenberg, director of CHART, a nonprofit organization for artistic events located in Kophenhag, stataes that in our age of digital displays and virtual realities, artistic practices are increasingly turning their faces towards the use of physical materials and crafts. She also talks about the organization's recent publication that was issued under the title of "Exploring Materiality" (CHART, 2019). The exhibition titled The Allure of Matter: Material Art from China, which was exhibited in Chicago in 2020 encompasses 48 works from 26 contemporary Chinese artists, such as a massive paper wave, a tower of leftover fat, and a tiger-skin rug of 201 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 500,000 cigarettes. ―Taken together, the works introduce a broader framework for understanding global contemporary art, which I call ‗Material Art‘ or ‗caizhi yishu‘, where material—rather than image or style—is the paramount vehicle of aesthetic, political, and emotional expression,‖ says co-curator Wu Hung (Ebert, 2020). The site-specific, monumental installations of the Japanese artist Motoi Yamamoto are also among the typical examples where a particular material stands out. Yamamoto Motoi was born in Hiroshima, Japan in 1966 and worked in a dockyard until he was 22 when he decided to focus on art full-time (Jobson, 2012). The artist, who graduated from Kanazawa College of Art in 1995, has been performing exhibitions that have received global attention and appreciation for more than 20 years, and is the recipient of the Philip Morris Art Prize (2002) and the Pollock-Krasner Association Prize (2003). Yamamoto's material, who continues his works in his studio in Kanakawa, is "salt", a substance that is very familiar to almost everyone in their daily life. Salt is poured patiently and carefully on the floor from the thin mouth of a simple plastic bottle by the artist, resulting in incredibly intricate, glamorous salt-mazes (Yoo, 2012). "Countless bubble-like shapes are combined to form larger units, swirling organically, reminiscent of galaxies, or microscopic glimpses of structures invisible to the naked eye" (Mikiko Sato Gallery, 2021). Since 2001, Yamamoto's short-lived, intricate and large-scale installations have been traveling around the world, exploring themes of mourning, pain, loss as well as memory. Jerusalem, New York, Tokyo, Mexico City, Athens, Seoul, Hamburg and Charleston are just a few of these places (Robert, 2021; La Galerie Particulière, n.d.; Colón-Singh, 2012). It is possible to come across many web pages dealing with him and his art in parallel with his global reputation he has gained through his labor-intensive efforts. The contents of these pages are generally similar and they speak of the tragic incident that started Yamamoto's art, of how the artist has gone towards salt as his unique medium as a result of this incident, of the place and importance of salt in Japanese culture, of the labyrinth-like formations that emerged as a result of the laborious work process and of how the salt is recycled ceremonially after the end of the exhibition. However, this common narrative is naturally conveyed to the readers with the unique point of view of each author and each of these authors highlights a different detail. Some such details, such as Yamamoto's starting work by carving rock salt blocks, using an ordinary plastic bottle to pour salt, using painkillers and athletic bands during the long hours of exhausting process, contribute significantly to our better understanding of Yamamoto's art. In this direction, it is aimed to form a general view of Yamamoto's art by arranging the information provided by such relatively dispersed details in a reasonable flow. The answers to some intriguing questions such as how much salt and how much time has been spent, or what the end of these fascinating structures created with this delicate mineral is, will be answered by referencing the mentioned sources and, hereby such original expressions like "saltscape", "a memory of life" or ―the poetry of salt" will meet with the reader in a single text. In this paper, unlike all these views and criticisms that regard Yamamoto's art in a relatively isolated manner, it is suggested that his art can be considered inside the group of the previous and the present artworks in which the "salt" material was somehow used and, that he constitutes the recent and very important component of this group. Accordingly, Yamamoto's installations are both typical examples of the "material turn" trend in contemporary art and the most impressive examples of the theme of "salt and art" in the recent past. Yamamoto and its art have become an important part of salt's cultural history that goes back thousands of years that cannot be ignored. Yamamoto and Salt There is a tragedy behind Yamamoto's decision to use salt as the only artistic material, and, in Xiao's (2012) words, " what gives Yamamoto‘s salt installations their power is how they began": In 1994, when he was attending his third year at the Kanazawa Art Academy, Yamamoto lost his sister, Yūko, who was just 24 years old, to brain cancer (Yoo, 2021). It was not easy to accept this incident, and he sought to find a way to honor her sister's memory, to feel reconnected with those memories of her (Architectural Digest India, 2016). At that time, when he was studying oil painting, there were a number of ways he could choose to soothe his grief and establish a dialogue with the memories of his sister. Painting his oil portraits, for example, could give him a sense of intimacy. But Yamamoto has taken an entirely different direction: Salt (Selene, 2021). Yamamoto started by carving large blocks of rock salt. For example, he prepared a salt deathbed for an outdoor exhibition in 1996, but the heavy rain that started in the middle of the exhibition melted the piece and it dissolved back to earth (Mufson, 2016). The salt blocks weren't exactly what he was looking for, and he wanted to 202 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 create a work that evoking the contours of the brain. Struck by how the folds of the brain resemble a labyrinth, Yamamoto tended to create vast, intricate patterns of salt on flat surfaces (Gleason, 2021). His main tool was a simple plastic bottle with a thin mouth that he had been using since 2001 (Yoo, 2012) (see Figure 1). Figure 1 Yamamoto created intricate salt-lines using an ordinary plastic bottle while his solo exhibition that took place at the Hakone Open-Air Museum (Kagnagawa) in 2011. Image by Makoto Morisawa. Source: Azzarello, 2021. Thus, Yamamoto, in the words of Selene (2021), instead of creating a permanent piece that would become a metaphor for endless love, began to create installations based on the laboriously and gently arranging of countless grains of salt. In order to understand this choice of Yamamoto, it is necessary to first look at the Shinto belief, which has an important place in traditional and even modern Japanese culture. As summarized by Japan-Guide (2020) Shinto, which remained the main religion of the Japanese with Buddhism, means "the way of the gods" and is as old as the Japan itself. This religion, ın contrast to many monotheistic religions, does not contain absolutes; there is no absolute right or wrong, and no one is perfect. Shinto is an optimistic faith that believes that evil is caused by evil spirits and that humans are inherently good. Accordingly, the purpose of many Shinto rituals is to keep evil spirits away through purification rites, prayers, and offerings to the gods (kami) (Japan-Guide, 2020). According to Sapunaru Tamas (2014, p.2), salt, fire and water are the three elements that enable the transition from sacred to earthly in Japanese culture, and among these, salt is the most widely used in outside rituals. Salt is seen not only as an inseparable substance from life but also as a magical instrument that pushes away evil forces. This is why salt is placed in small piles at the entrances of houses or shops, used by Shinto priests in purification rituals, or sprinkled on the ring before the bout by sumo wrestlers (Sapunaru Tamas, 2014, p.2). An important part of this context is burial ceremonies. As explained by Kim (2012), when mourners return to the funeral hall from the crematorium or the grave, they are purified by pouring water on their hands and rubbing their hands with salt before entering the hall. They also sprinkle salt on their shoulders when they return home from the ceremony. Called "Shio barai," this ritual of salt purification is still an essential part of mortuary ceremonies in many parts of Japan because salt is long believed to repel malevolent spirits and death contamination, which are believed to follow the inhabitants after the crematorium or tomb. In this context, the ritual practices remained almost the same as before (p.229). Therefore, what is at issue here is not only the traditional value system, but also the practices that continue their effects in modern times. As a matter of fact, Hirai (n.d.) states that Shinto is more readily observed in the social life of the Japanese people and in their personal motivations rather than in a formal belief or philosophy, and that this religion remains closely related to the Japanese value system and the Japanese way of thinking and acting. In this context, Yamamoto's decision on salt and salt works is mainly associated with these spiritual beliefs and practices of Japanese culture. For example, according to Xiao (2012), the transience and fundamental 203 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 materiality of salt refer to the notion of impermanence, which is central to Buddhist thought. According to Azzarello (2021), by choosing salt as an artistic medium, Yamamoto creates ―a memory of life" by taking advantage of the cultural notions of this material as purifiying and cleansing, and its importance in Japanese funerals. Mark Sloan and Brad Thomas, authors of Force of Nature: Site Installations by Ten Japanese Artists, say, "What began as an exploration of the practices of Japanese funerary culture and its use of salt has now become a more philosophical inquiry into importance of this substance to life on the planet‖ (Xiao, 2021). Yamamoto himself too states that the appeal of salt as a medium is, after all, the cultural background it brings with it (Azzarello, 2021). Reminding that salt is often used in Japan to purify those attending the ceremony right after the funeral, Yamamoto says, ―The material happened to click with me. I feel salt that bring back the moment my sister left me‖ (Hasegawa, 2015). Moreover, salt, according to Yamamoto, is a vital substance for the continuity of life and has marine connotations. The artist continues as follows: ―Another important factor is that salt is a food which everyone, from small children to the elderly, has touched and tasted. People who view my works can connect them with personal memories (for example, the taste of the salted rice balls that their mother made for them), enabling everyone to form their own stories‖ (Azzarello, 2021). Yamamoto's artworks, which will gain the admiration and the esteem of people around the world and, be mentioned with such epithets like "mesmerizingly intricate salt arrangements" (Azzarello, 2021), "large ephemeral installations" (Robert, 2021), ―Incredible salt mazes‖ (Yoo, 2012), ―crystalline paintings‖ (Grabar, 2012), ―breathtaking food art masterpieces‖ (Colón-Singh, 2012) and ―the poetry of salt‖ (Cercle, 2017) that will , "Incredible Salt Mazes" (Yoo, 2012), "crystalline paintings" (Grabar, 2012), "breathtaking food art masterpieces" (Colón-Singh, 2012) ), and ―the poetry of salt‖ (Cercle, 2017), were shaped on such a background. Figure 2 Motoi Yamamoto, Making Mends,2012. Bellevue Arts Museum (Wasington). Source: MOTOI YAMAMOTO, 2021. Figure 3 Motoi Yamamoto, Floating Garden, 2015, Pola Museum Annex, Ginza, Tokyo. Photograph by Kanae Hasegawa. Source: Hasegawa, 2015. 204 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The Ritual Aspect of the Installations Turning back to the death of the sister, it is clear that this tragic event served as the trigger of the artist's work. For Yamamoto, every grain of salt is linked to the memories of his moments with his sister (Robert, 2021). Yamamoto, in his statement to the Japan Times, remembers his dispute with his sister over a pudding-cake and states that with each line he creates, he acts with the feeling that he is being directed to such a memory of the deceased, and that this is the basis of his every work (Yoo, 2012). Yamamoto says: ―Drawing a labyrinth with salt is like following a trace of my memory. Memories seem to change and vanish as time goes by; however, what I seek is to capture a frozen moment that cannot be attained through pictures or writings. What I look for at the end of the act of drawing could be a feeling of touching a precious memory …‖ (Hossenally, 2014). Yamamoto's first "salt project" was understandably directly related to his sister's illness and it was a model of the brain (Architectural Digest India, 2016). Over time, Yamamoto began to use the floors as a canvas by creating patterns where small reservoirs of salt were added one after the other, and after a while, these patterns developed to fill the floor of an entire room. Yamamoto says, ―Drawing a road with salt; it's like a journey through my memories. My precious memories fade over time, but I want to lock them in place before they disappear‖ (MOTOI YAMAMOTO, 2021). Another aspect that stands out in the context of Yamamoto's work is the ritualistic side of the creative process. According to Hossenally (2014), who originally coined the term "saltscape" for the cell-like shapes Yamamoto created from salt, these saltscapes act like a vibration that makes him disconnect from everything around him. Yamamoto's practice, according to the author, resembles a meditation that is an authentic part of the endless healing process that follows the death of the deceased, apart from being a method that is hoped to keep memories from fading away. Although the artist's works have striking and eye-catching appearances with their intricate structures that give the impression of embroidered like lace, these works are far from being just aesthetic. Each of the artist's saltscape is an experience and a highly metaphysical nature for the artist as well as for the audience (Hossenally, 2014). Marlène Cercle (2017), who uses the title "The Poetry of Salt" about Yamamoto's works, states that the hours spent by the Japanese artist, who has been telling something about memory, time and reminiscence in her performances, are an integral part of the creative process. According to Cercle, there is a ritualistic aspect in the artist's creation of these labyrinth-like structures in front of the audience and the ethereal silence in this show. The shapes that are formed are the places where the memories of people who passed away from this world are accumulated. Hossenally (2014) mentions Yamamoto's calm state, away from the rush during the process, and states that the rhythmic and careful ritual movements of his hands while pouring salt on the floor remind of the repetition of the hymns that the monks sang during prayers. Mufson (2016), on the other hand, states that the artist takes a trance-like or zen-like state for hours during the work. Yamamoto's works are often associated with mandalas made by Buddhist monks from colored sand because of this ritualistic aspect and the material. Labor-Intensive Process and the Return to Self (Sea) During the creation process, Yamamoto determines an area for his memories and a target area on the ground and gently develops the work towards the target, starting from the region devoted to memories (MOTOI YAMAMOTO, 2021). Although he has prepared basic guidelines and plans for each of his works, Yamamoto creates his patterns almost completely improvised, with errors and perfection left behind (Jobson, 2012). During the process, the artist states that the road from salt can be bent or upside down involuntarily, and says that the shape, texture, and moisture of the ground in addition to his emotional and physical condition also affect the work. The artist adds that he finds this process valuable and sublime, which results in the intertwining of precision and coincidence (MOTOI YAMAMOTO, 2021). This is, in a word, a "labor-intensive" process. As stated by Katsuhito (2018), Yamamoto works for hours in a sitting or crouching position, using the natural rhythm of his hands and body. (see Figures 4 and 5). The artist mockingly acknowledged the intensity of these daily sessions and developed an athlete-like ritual to adapt his body to the days or even weeks required to complete a work. He starts every day with stretching and strengthening exercises, supports his limping parts with athletic bands, and takes pain relievers when necessary (Katsuhito, 2018). 205 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Figure 4 Floating Garden, 2013, Salt, Ernst Barlach Haus Hamburg, Foto: Andreas Weiss © Mikiko Sato Gallery. Source: Robert, 2021. Figure 5 Halsey Institute of Contemporary Art, Charleston (South Carolina) / Force of Nature / 2006 Photo: The Post and Courier. Source: MOTOI YAMAMOTO, 2021. For example, in his work at the Pola Museum Annex in Tokyo, where salt patterns form a Japanese gardenlike shape, he used 120 kg of salt to cover the 85 square meter gallery floor and worked for three days (Hasegawa, 2015). The Hakone installation, which resembles a giant tree with its vein-like branches, was completed in 2 weeks with 14 hours of work per day (Yoo, 2012). Undoubtedly, the nature of salt has an important effect on the laboriousness of the creation process, and for Yamamoto salt, apart from its symbolic meanings, is also attractive due to its physical properties, especially its beautiful whiteness. Azzarello (2021) summarizes the points that the Japanese artist made in this context: On closer inspection, salt grains of slightly transparent quality and crystalline structure, do not have the ability to adhere to each other, and salt is, therefore, a highly uncontrollable medium (see Figure 6). Accordingly, objects made of salt have a fragile nature, prone to crumble. Moreover, this mineral begins to dissolve when exposed to moisture. Although these are negative features in terms of the permanence and preservation of the work, this weakness reminds Yamamoto that everything is always changing and life is finite. For this reason, these features are valuable for the artist (Azzarello, 2021). Figure 6 A detail from Yamamoto‘s Floating Garden installation that created at Aigues-Mortes, France in 2016 that shoving the crispy nature of the salt grains. Source: Azzarello, 2021. 206 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Likewise, for Yamamoto, the creative process is not just a form of meditation, and the artist endeavours for a distinctly decorative visuality. According to Hasegawa (2015), the artist pours the salt in a way that looks like a hurricane, a glacier, a labyrinth or a lace, and the resulting pure decorative appearance sometimes overshadows the meditative aspect of the works and attracts the viewer with the pure beauty of the work. "I love beautiful and decorative things", Yamamoto says (Hasegawa, 2015). These "beautiful and decorative" and of course labor-intensive works by Yamamoto have been traveling around the world since 2001. These works were hosted by a number of unique sites, including a medieval fortress tower in Aigues-Mortes, a 13th-century fortification city in southern France, and an abandoned house converted into an art-house on a remote Japanese island in the inland sea of Seto (Azzarello, 2021). His most famous creation, Labyrinth, installed in dozens of different places including the Bellevue Arts Museum in Washington and the 21st Century Museum of Contemporary Art in Kanazawa (Robert, 2021). Best known for the installations which he often shapes into labyrinthine patterns, the artist has recently completed a piece for a solo exhibition at the Setouchi City Museum of Art titled Sakura Shibefuru. In this latest installation, Yamamoto crafted over 100,000 fallen cherry blossom petals out of salt (Young, 2021). On the other hand, Yamamoto's works, despite they almost always referred to as "astonishing", "fascinating" or "hypnotic" and, their creation processes arouse revere, curiosity, and even admiration, are not permanent: Each work is destroyed by an event to which the public is invited after being on display for several weeks and the salts collected are returned to the sea. According to Hossenally (2014), this ceremony, called Return to the Sea, is as important for the artist as creating the work itself, and the salt sprinkled back into the sea symbolizes the evanescence and the transience of life, just like the return of the body to the earth after death. Motoi Yamamoto has been making these white, eye-pleasing salt installations with devotion since 1994, and surprises the world which is in constant motion and upheaval with his diligence and serenity (Hossenally, 2014). Discussion and Conclusion Yamamoto's monumental installations, consisting of saltscapes, are typical examples of contemporary art practices where materiality is emphasized. However, when the subject is handled with an approach that focuses on the artist instead of the work, it can be argued that these installations differ from similar applications in two ways. First, Yamamoto's decision on a material is a result of his own spiritual requirements, perhaps his imposition, rather than his desire to highlight that material and create a narrative through it. Hence, Yamamoto's main motivation in his search for the best material for him is not how to envision supply on the global art podium, but how to reconnect with his deceased sister. Of course, no one can say that prioritizing the expectations of the art market in the selection of materials or other artistic items is a bad thing. However, Yamamoto's decision on a particular material clearly differs from similar examples. Second, the relationship between Yamamoto and the material he chooses is not short-lived, and salt has remained unchanged as the artist's sole material since 1994. This persistence on material sets it apart from most of the other artists who emphasize materiality. It is clear that knowing Yamamoto's life story and the tragedy he once faced helps to better understand his work. But this knowledge also seems to contribute to the appeal of salt installations. Knowing that it is not any earthly purpose or ambition, but a universal human pain that underpins the emergence of these salt-installations, it is as if it wraps the installation with an invisible halo and reinforces its monumental beauty. Another important point regarding Yamamoto's art is the concept of "patience". Part of the tendency towards materiality observed in the recent period of the contemporary art world is the use of traditional craftsmanship techniques. Traditional craftsmanship is generally about patiently processing a particular material as well as mastering it. Therefore, the emergence of craftsmanship in contemporary art practices means to emphasize both the effort of a particular person (craftsman) and the patience behind this effort. Yamamoto's installations are very accurate examples of such an emphasis on patience, although the craft of pouring salt has not ever existed. It is possible to categorize Yamamoto's art in many different ways. Of course, first of all, he is a "contemporary artist" or "an actor of global art". It also comes to mind that he is a typical representative of the recent "material turn" trend in the contemporary art world. Journalist Colón-Singh (2012), along with her different point of view, places Yamamoto's works, which she describes as "breathtaking food art masterpieces", into a group of works using foodstuffs. Julie E. Bounford (2018), on the other hand, groups the Japanese artist's creations into labyrinth-like artworks in her The Curious History of Mazes. As for me, with an approach that focuses on 207 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 "salt", I see Yamamoto's intricate installations as the last and most striking representative of the category of the artistic creations in which this mineral is present in some way. The famous mural painting The Last Supper, painted by Leonardo da Vinci on the wall of a church in Milan at the end of the 15th century, constitutes an early example of the subject. In the mural, we see Judas's right elbow resting on the table with an overturned salt shaker placed just in front of him, something that was often tired of evil in Europe at that time. One of the most famous tableware in the world again takes us to salt: The partially enameled gold table sculpture prepared by Benvenuto Cellini, a late Renaissance sculptor for King Francis I of France, is a "salt cellar". US artist Robert Smithson's Spiral Jetty (1970) is above the Great Salt Lake in Utah, and with its spiral structure, it refers to the molecular weave of salt deposits in the lake. The salt crystals, which were revealed over the decades by the effect of the lake waters on the skirts of the building, are the most spectacular examples of ―patina‖ in the history of art, according to some. Among contemporary Israeli artists, Sigalit Landau (b.1969), Anat Eshed Goldberg (b.1964) and Nevi Pana (b.1984) produce salt sculptures in collaboration with Dead Sea, one of the world's most salty lakes. For example, the formation of Salt Bride (2004), one of Landau's last works, started with the immersion of a black, pompous dress into the Dead Sea. The salt crystals accumulated day by day on the dress, which remained in the depths of the water for three months, turned it into a white, sparkling new object, the Salt Bride. Figure 7 Pam Gazalé, Vanitas #2, salt, 2001, collection of the artist. Source: Pam Gazalé, n.d. Figure 8 Dilek Toluyağ, The Ram, salt rock, 2012. Photo by the artist. Pam Gazalé from the USA, on the other hand, treats salt as a sculpture material and creates sculptures from pressed rock salt (see Figure 7). Turkish sculptress Dilek Toluyağ, on the other hand, uncovered a ram figure from rock salt, a highly fragile material, in a 2012 sculpture symposium (see Figure 8). It is here that Yamamoto has been added as a very important figure to the art historical narrative of salt since 1994, or, with a more accurate dating, 2001, when his performances began to travel the world. At this point, the French chemist Pierre Laszlo's (2001) book Salt: A Grain of Life in which salt is investigated in terms of its literary, historical, anthropological, biological, physical, economic, political, scientific, ethnological, and linguistic aspects, comes to mind. The "Miths" chapter of the book deals with the relationship between salt and art. In this chapter, Laszlo talks about how Stendhal uses the phenomenon of crystallization in a metaphorical sense in his book On Love (De l'Amour), the salt baby thrown into the sea in the ancient Indian myth, Ramakrishna, and of course Benvenuto Cellini's saliera (salt cellar) in the form of a table sculpture. Originally published in 1998, the book naturally makes no mention of Motoi Yamamoto at all, and this seems to be a striking absence today. Now it is nearly impossible to ignore that Yamamoto and his art have become an important part of salt's cultural history that goes back thousands of years. 208 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 References Architectural Digest India. (2016). Japanese artist Motoi Yamamoto‘s salt-installations are works of art. https://www.architecturaldigest.in/content/japanese-artist-motoi-yamamotos-salt-installations-works-art/ Azzarello, N. (2021, April 7). Motoi Yamamoto shares how memories shape his mesmerizingly intricate salt arrangements. Designboom. https://www.designboom.com/art/motoi-yamamoto-interview-memoriesintricate-salt-arrangements-04-07-2021/ Bounford, J. E. (2018). The curious history of mazes: 4,000 years of fascinating twists and turns. Wellfleet Press. Cercle, M. (2017, October 17). Motoi Yamamoto, the poetry of salt. Cerclemagazine. https://www.cerclemagazine.com/en/magazine/articles-magazine/motoi-yamamoto-the-poetry-of-salt/ CHART. (2019, 28 June). Exploring materiality. https://chartartfair.com/exploring-materiality/ Colón-Singh, R. Y. (2012, April 10). Amazing Food Art Masterpieces Created Using Only Salt. Finedininglovers. https://www.finedininglovers.com/article/amazing-food-art-masterpieces-created-using-only-salt Ebert, G. (2020, February 13). 26 Contemporary Chinese artists explore materiality in „Allure of Matter‟. Colossal. https://www.thisiscolossal.com/2020/02/allure-of-matter-chicago/ Gleason, A. (2021, April 1). Salt as salve for a wounded land: Motoi Yamamoto's "White Forests" at the Hakone Open-Air Museum. Artscape.jp. https://artscape.jp/artscape/eng/ht/1111.html Grabar, H. (2012, August 17). Labyrinth of the day: Salt paintings of Motoi Yamamoto. Bloomberg. https://www.bloomberg.com/news/articles/2012-08-16/labyrinth-of-the-day-salt-paintings-of-motoiyamamoto Hasegawa, K. (2015, February 17). Motoi Yamamoto: Return to the origin. Studio International. https://www.studiointernational.com/index.php/motoi-yamamoto-return-to-origin-review-saltinstallation-tokyo Hirai, N. (n.d.). Shintō. In Britannica. Retrieved January https://www.britannica.com/topic/Shinto/Shinto-reaction-against-Buddhism 20, 2021, from Hossenally, R. (12 Ekim, 2014). Return to the Sea: Saltworks by Motoi Yamamoto.Yatzer. Erişim 10 Mart, 2021, https://www.yatzer.com/return-to-the-sea-motoi-yamamoto Ireland, T. & Lydon, J. (2016). Rethinking materiality, memory and identity. Public History Review, 23,1-8. https://doi.org/10.5130/phrj.v23i0.5333 Jobson, C. (2012, August 12). Return to the sea: Saltworks by Motoi Yamamoto. Colossal. https://www.thisiscolossal.com/2012/08/return-to-the-sea-salt-labyrinths-poured-by-motoi-yamamoto/ Katsuhito, S. (2018, February 9). A requiem in salt: Japanese artist Yamamoto Motoi. Nippon. https://www.nippon.com/en/views/b02338/ Kim, H. (2012). The purification process of death: Mortuary rites in a Japanese rural town. Asian Ethnology, 71(2), 225–257. https://asianethnology.org/downloads/ae/pdf/a1755.pdf La Galerie Particulière. (n.d.). Motoi http://www.lagalerieparticuliere.com/cspdocs/exhibition/files/DP_YAMAMOTO_2014.pdf Yamamoto. Lange-Berndt, P. (Ed.) (2015). Materiality. Whitechapel Gallery. Laszlo, P. (2001). Salt: A Grain of Life (M. B. Mader, trans.). Columbia University Press. M+Stories. (2020, March 13). A focus on materiality in contemporary https://stories.mplus.org.hk/en/blog/a-focus-on-materiality-in-contemporary-chinese-art/ Manieri, A. (2021). Motoi Yamamoto. magazine.com/coeval/2015/6/6/motoi-yamamoto Coeval Magazine. Chinese art. https://www.coeval- Mikiko Sato Gallery. (2021). MOTOI YAMAMOTO. https://www.mikikosatogallery. com/en/artists/motoiyamamoto 209 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Mills, C. M. (2009). Materiality as the basis for the aesthetic experience in contemporary art [Master's thesis, University of Montana]. Graduate Student Theses, Dissertations, & Professional Papers. https://scholarworks.umt.edu/etd/1289 Moschovi, A. & Graham, B. (2020). Matter, (im)materials and materiality: On the life of digital artworks. Association for Art History. http://eu.eventscloud.com/website/758/matter,-im-materials-and-materiality/ MOTOI YAMAMOTO. (2021). Installation Labyrinth. https://www.motoi-works.com/en/works/installationlabyrinth Mufson, B. (2016, June 2). Intricate salt mazes laced with https://www.vice.com/en/article/vvy894/japanese-salt-maze-castle serenity and sorrow. Vice. Pam Gazalé. (n.d.). http://pamgazale.com/sculpture.html. Sapunaru Tamas, C. (2014). The ritual significance of purification practices in Japan. Kwansei Gakuin University Humanities Review, 19, 1-19. https://core.ac.uk/download/pdf/143638475.pdf Selene, D. (2021). Of love, loss and rebirth: Motoi Yamamoto‘s saltscapes. Combustus. Retrieved January 10, 2021, from https://combustus.com/motoi-yamamoto/ Xiao, A. (2012, 1 Ekim). From salt to saltwater, artist mourns his sister‟s passing. Hyperallergic. https://hyperallergic.com/57670/from-salt-to-saltwater-artist-mourns-his-sisters-passing/ Yoo, A. (2012, March 3). Motoi Yamamoto‟s incredible salt mazes. MY MODERN MET. Retrieved February 15, 2021, from https://mymodernmet.com/motoi-yamamoto-salt-mazes/ Young, A. (2021, April 19). Japanese artist creates over 100,000 cherry blossom petals from salt in heartfelt installation. MY MODERN MET. https://mymodernmet.com/motoi-yamamoto-cherry-blossoms/ 210 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Diary of a Pandemic: Magnum Photography Agency and Covid-19 Pınar Boztepe Mutlu Dokuz Eylul University, Fine Art Faculty, Photography Department pinar.boztepe@deu.edu.tr Abstract Magnum Photography Agency was established in Paris in 1947 under the idea leadership of Robert Capa. Since its establishment, it has set out with the ideal of an independent and new vision of Documentary Photography and witnessed the great events that took place. Representing a universal humanism, it has directed our view to the reality that exists all over the world and has become one of the most important parts of the institutional understanding in terms of Documentary Photography. On the other hand, the perspective of Photojournalism has created a new way of seeing in parallel with the transforming technologies and ideologies. In this context, the perspective of the Magnum Agency members, who expresses their individual narratives were engaged with the reflections of the contemporary visual culture. These reflections have been guiding in terms of envisioning the current to present a different formulation of ethical and aesthetic values. In the post-truth era we live in, knowledge and information are affected by many factors under the same roof of changing global values. In an environment where the boundaries between reality and fiction are blurred and news vision is presented with alternative realities, reaching information through aesthetic values have become an important starting point. Covid-19 reality, which can be considered as one of the biggest breaking point of our age, is considered a period when the need for knowledge and information reached its peak. During the pandemic in which a global struggle for survival was waged, this reality, where the visual culture was focused on a universal dimension, was witnessed by the photographers of the Magnum Agency with an aesthetic vision. Projects were produced one after another under the title of "Pandemic Diary" and the course of the agenda continues to be presented with an aesthetic vision. Current technologies have become a part of the representation in the perspective of Photojournalism, which has evolved and offering new perspectives until today. Artists have built up the method of re-shaping by searching for forms, including new imaging systems that have entered our lives. The aim of this study is to examine the aesthetic transformation of Magnum Photography Agency members' view of Covid-19 reality and the new world order. In this context, it evaluates the artists who use new techniques such as Antoine D‘Agata and Alex Majoli, beside names who express concepts like isolation, quarantine, contact or distance with their subjective approaches. Keywords: Magnum Photo Agency, Covid-19, Documentary Photography, Humanist Vision, Aesthetic Humanism and Social Documentary Expression Humanism represents a belief that has interacted with many concepts throughout history and emphasizes humanity and its value, independence and place in the universe. It has been rise out with the expressions gained by philology in the 15th and 16th Centuries, and it has been studied and researched in a multidisciplinary framework, including rhetoric, philosophy, morality, law and medicine. It explores the needs of society and people and a point of view that adopts expressing the collectivist perspective with individual attitudes is dominant. In his lecture by the French philosopher Jean-Paul Sartre in Paris in 1945, he states that "Existentialism is a Humanism". Sartre describes the view that supports the human being and expresses it as a supreme value while making this relationship. At the same time, it presents the idea that human beings do not have a fixed nature but can make their choices by using their independence (Norman, 2004: 5). Modernist humanist attitude emphasizes moral values and reveals the critical reality of systems dominated by socio-political, economic and ideologies. The interaction of humanism with visual arts reached its peak with the reflection of classical texts on culture as of the Renaissance. The dialogue of discourse with art has been expressed with the social and cultural reflections that transformed with modernism. 211 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Although the notion of humanism was embedded in the work of ancient photographers, it took root in the ashes of a world devastated by war and supported the desire to portray the human condition in an insightful way (Smith, 2018: 29). Throughout history, a new attitude of humanism has been put forward against all kinds of global or global problems. Photographers have expressed their individual humanist vision by addressing the problems of humanity with the mission of witnesses of history. Lewis Hine, a sociologist, conducted a study through photography to express his individual concerns and documented his transforming working life in the USA. As a result of many photographers who have undertaken such systematic works, they have laid the groundwork for concrete social developments. Photographers such as Eugene Smith and Henri Cartier-Bresson represented the photojournalist aesthetic that followed the humanist vision. They have witnessed the fate of humanity, and have tried an effort to seek solutions to humanity's problems in a generous and unimpeded manner. By following the panorama of human existence, they represented the tragedy of the victim humanity. A new definition of humanism has been realized in each individual attitude, and social and cultural transformation has been represented with a direct presentation of reality. On the other hand, this type of humanism defines a very rapid and direct humanism because of its close attention to social issues. Photographic expression is about time and is in the nature of information and documentation. Photographic recordings play a primary role in the construction of collective memory globally. When viewed from the historical perspective, institutional structures have emerged that set the stage for the photographers representing the documentary vision to testify about the problems of humanity on a global scale. Institutions of this type have played a very active role in spreading a sustainable photojournalist understanding. Each of them developed a system for the course of the works in line with different purposes and developed their infrastructures in line with the goals of reaching the audience. They presented the representation of a qualified historical visual panorama in terms of collective memory and archive. One of the most important and systematic archive platforms of documentary photography is the Magnum Photography Agency. Before mentioning the corporate strategies of the agency and its current position, it would be beneficial to talk about the photography agencies and their contributions to photojournalism. Photography Agencies and Their Contribution to Global Visual Culture "To ignore photojournalism is to ignore history” Howard Chapnick "We can say that the birth of modern photojournalism started in Germany with the rapid progress of technological innovations after World War I. In particular, the invention of portable cameras and the use of 35mm format film accelerated the process. With the development of optics and the simplified technique of photo printing equipment and the film market, photojournalists began to make their statements more rapidly. In parallel with the political and socio-cultural dynamism of the period, steps were taken to share and institutionalize documentary photography works. “In the modern sense, illustrated news magazines first appeared in Weimer Germany. Among the reasons for this are fast printing facilities such as photogravure, the availability of paper, which is the basic input for the sector, in the desired quality and quantity at affordable prices, the urban population with high literacy rates, and talented photographers, photo agencies and editors ”(Oral, 2011: 64). With concrete steps taken on the concepts of photography magazine and publication created in Germany, photographers who shared their work in these environments started to take new steps. Especially, Life magazine, which was founded in 1936, had reached a legendary position that introduced photojournalism to the world and followed the most important events of the period. In the 1930s, Black Star Photography Agency, founded by three publisher-based people who emigrated from Germany, brought together the most influential photojournalists of the period. In the same period, different agencies providing photos to Life magazine have provided new structures in the USA and Europe. Among them were agencies such as Undervood & Undervood, Acme, Keystone and International, as well as the Pix agency founded by Leon Daniel, who also immigrated from Germany (ibid: 93). On the other hand, World War II covers a period in which historical photographs for photojournalists were produced and spread widely. News photography has become fully recognized in Europe and the US as the circulation figures of photo publications have reached their peak, and full-time photographers are now actively involved in such environments. Photojournalists working in these publications, where photography departments were established, embarked on different searches to reach more respectable and prestigious standards (Griffin, 1999:125). These searches brought together experienced photojournalists and mobilized formations such as 212 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 professional associations. Magnum photography agency, which was established as a rival to Black Star Agency, draws attention with its different system and structure in this sense. The recognition of photojournalism and the creation of a global archive of the photographic image intertwined with the press and media become prominent with this process. On the other hand, many agencies such as Panos Pictures, Agence Vu, VII Photo Agency, Camera Press, Format, AP Press have created their own corporate structures. Likewise, there are agencies that serve different disciplines and categories, representing fields such as archeology, science or geography. The rapidly developing world of mass media and the transformation of technology has brought the concept of documentary photography, which has spread to a wide range of circles, to the present day with the aesthetic presentation of global memory. In this sense, the understanding that developed systematically after the World War II was shaped by the contributions of the agencies that serve as a visual pool that will witness the global breaks and transformations. The mission of photojournalism to witness the truth and to hold a mirror has continued in the company of photographers who reflect the systematic working principles formed by their collective ideologies. In addition, stock photography in cyber environments today, there are photography agencies that maintain these environments with their ongoing respectable stance. Magnum photography agency continues its prestige with different structuring and institutionalization concepts since its establishment. It has reflected all kinds of events that affect the world and humanity with the expressions of distinguished photographers and brought iconic photographs to global visual culture. It is useful to look at the history and policy of the Magnum agency before examining the current pandemic stories they represent and their perspectives on the wave of Covid19 and the pandemic, which are disrupting the whole world today and the new documentary understanding. Magnum Photography Agency and Documentary Photography Identity The period that passed during and after World War II increased the demand for documentary production of photography, and strategies began to be developed for sharing the framework of transforming ideologies. The series of photographs that include wars, borders, socio-political and cultural narratives gradually began to influence the world and the 19th century began to take shape with these images. Agencies producing systematic works with free-lance photographers were having difficulty meeting a standard in the economic and working conditions of these photographers. With the idea of keeping these conditions in order, a group of photographers who set out to provide the best conditions came together and started work on the establishment of the Magnum Photography Agency. Founded in Paris in 1947, the agency set out with the leading photographers of the period under the leadership of Robert Capa, Henri Cartier-Bresson, George Rodger, William Vandivert and David Seymour. "Its important difference from other photo agencies is that it is a cooperative although its commercial structure and cooperative partners have equal rights in the operation of the agency" (Oral, 2011: 93). The distinguishing feature of the Magnum agency is that the equal rights agreement of the members mentioned at the beginning revolves around a set of membership statuses. For example, there is an understanding that a photographer goes through three different stages in order to reach the life-long full membership status, which is the most distinguished form of membership, and determines his role with the votes of other members. This system has enabled the agency to provide an environment for qualified perspectives in photojournalism and to continue as an educational institution, as the agency has continued with the same process until today. Since its establishment, it has brought together the world's most distinguished photojournalists and has featured Ernst Haas, Joseph Koudelka, Sebastiao Salgado, Marc Riboud, Ara Güler, Martin Parr, W. Eugene Smith and many more documentary photographers on its own platform. Magnum guided the standards of documentary photography and presented its vision of a storytelling with unique testimony models. Their iconic photography works have experienced the existential panorama in the struggle for human life by stabilizing the moments and brought them to the documentary photography vision by aesthetizing them. Henri Cartier-Bresson said: ―Magnum is a community where thought, a common human quality, a curiosity about what is happening in the world, an interest and a desire to convey it visually. That's why this group has survived. This is what holds it together‖(Miller, 2008: 19). Magnum photography agency brought together destructions, disasters, socio-cultural realities, global and local different geographies on a single platform. The dramatic and aesthetic pursuits of the photojournalism it presents have enabled documentary photography to focus on the artistic dimensions as well. The value judgments and ideological perspective they put forward representing humanism have also been included in the humanist perspective of art. For example, they took part in the "Family of Man" exhibition, which was one of the most universal artistic movements of the Cold War period and was curated by Edward Steichen in 1955 at the Museum of Modern Art. One of every ten photographs in the exhibition belongs to Magnum members. In this context, the human perspective of photojournalism has gained an inspiring quality in an aesthetic dimension. 213 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Merter Oral mentions that the basic qualities of the Magnum agency are determined by the phenomena of creativity, witnessing to the human, its age and social criticism, idealism and perfectionism. ‗Approximately one million photographs in the archive of the Magnum agency bear witness to a large part of the 20th century, which is the first century in human history to be fully documented with photographs (Oral, 2011: 100). On the other hand, the members of the agency reflected their statements in line with periodic dynamism. The period from its establishment to the 1980s includes the productions of photographers due to classical, realistic and dramatic effects. The period until the early 2000s coincides with the period when color was used as a dominant element and exotic and frames came to the fore with a random expression. The course of chaos in the period after 9/11 represents the perspective that post-documentary expressions that include empathy and storytelling take place. Another phenomenon that Magnum agency has brought to the history of photography and global visual representation is the concept of archive. The archive phenomenon has manifested in different ways in many different periods. It is very important when viewed in post modern or conceptual dimensions. However, when we want to look at the traces of the last 74 years in the world, Magnum photographers' gaze and documentary interpretation present us with all the clarity of what is happening in the world. Although each photographer has developed his own individual point of view and his own special photographic attitude, they continue the tradition today and, in the words of Susan Sontag, continue to deal with the people in the pit with consciousness: ―To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, light-weight, cheap to produce, easy to carry about, accumulate, store‖ (Sontag, 2001:5). Today, the agency continues its activities in the constantly active and updated internet environment, as well as exhibitions and book publishing that include various topics and stories of its members. The last year of the world, which has passed with distances and lock downs, includes the studies of the new order and new world expressions, which include Covid-19 and the pandemic process, which Magnum members continue to produce. It is useful to examine the studies presented under the title of "Pandemic Story" in the axis of the transforming world. Diary of a Pandemic Project and Magnum Photo Agency As of today, the Covid -19 epidemic, which has been going on for more than a year, has led to major transformations in many ways globally. 'The need to connect and participate with others in collective cultural settings appeared to be the impetus behind many of the social initiatives that emerged during the pandemic' (Jeannotte, 2021: 4). On the other hand, Magnum photographers were also part of a different kind of initiative, with their mobility restricted. Throughout the pandemic, the criticisms of concepts such as distance, isolation, quarantine, spreading and contact that entered our lives were reflected in the 'here' and 'now' phenomena represented by the documentary vision. We are witnessing the course of this transformation, which is called the new normal, from the perspective of Magnum members, based on the current potential of cyber networks. Sociological, ecological or political factors such as the immobility of the world, the common destiny of all geographies, the transformation of the concept of border and the earth's taking a breathing position have formed the language of documentary photographers. Many kinds of approaches to the great break have revealed the struggle for existence of the new age. ―Photographers, confined like the rest of us, are capturing those moments of silence, of reflection, of clarity. In New York, a photographer, alone and sick with COVID-19, notices sunlight illuminating his parents‟ portrait. In California, a couple cherishes a moment alone near the sea. In Poland, a library seems more hushed than it‟s ever been, and in Spain, an ornate carousel has come to a stop” (nationalgeographic.com). They carried out a project under the title of "Diary of Pandemic", which is updated every week and includes the works of different photographers. Each week we see the edits of these images selected by project leader Peter Van Agtmael, as well as personal notes and reflections of Magnum photographers on how they experienced the ongoing crisis. There are also interviews and series of articles about their approaches with photographers. Van Agtmael's selections also include images included in the ongoing collaboration between Magnum Photos and National Geographic, which gives readers a global look at how the coronavirus affects the worlds they see inside and outside of these photographers' windows. In order to follow the current status of the cooperation, it is necessary to examine the "News Room" category on the magnum website. The documentary includes examples of the pursuit of new technologies and their adaptation to expression throughout the history of photography vision. Some of the imaging devices that were actively involved in our lives during the Covid-19 214 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 period were given by some photographers with expressions that adapt the reality attitude of photojournalism to scientific discourses. In particular, there have been photographers who have benefited from science and have included thermal imaging devices that offer familiar vision styles of daily life with Covid-19 or x-ray imaging and diagnostic systems such as CT scan (Computed tomography). In a way, reference is made to the mission of these technologies to provide scientific evidence and a common language has been provided with today's documentary understanding. French photographer and Magnum Agency member Antoine D'Agata uses thermal cameras called thermal cameras in his work "I‘m Starting to Feel the Pain". While D‘Agata refers to his photography in general, he does not talk about a special aesthetics. For him, it's more about finding the right visual language to tell a story. His work at the beginning of the pandemic was when he presented a typographic representation of the leading elements of the process, namely masks, gloves or different objects in the streets of Paris. For example ―Disposable gloves on the ground. He realized a map-like design of the gloves he displayed on the floor with the title ―They are supposed to be the new essentials‖. On the other hand, in his work with the thermal camera, D‘Agata defines this tool as a heat source stripped of cultural specificity, an essence of humanity (int.magnum.com). First, he performs on the streets, especially in places where the impact of the epidemic is most common, with the concern of the risk of contamination. It is somewhat reminiscent of the vital anxiety felt by a war photographer. The photographs, which contain all shades of heat, offer an alternative, dystopian perspective to the empty streets. Ten he worked in hospitals for two months. He worked with nearly three thousand patients and healthcare professionals. Like most of us, he has been impressed by the dedication of the medical staff. The point of view of D'Agata, the warm colors seen and the way of seeing that evokes the surreal perception created by the contrast reveal the uneasiness and chaos. On the other hand, the scientific and medical struggle of the virus is expressed in scenes where we see the catastrophic and the scale of the disaster in the harshest way. The abstracted figures created by the device, but whose vital signs we see in the transition between warm tones, are the heroes of this struggle. Existence oscillates between these warm tones. In this context, we can examine another Magnum member Italian photographer Alex Majoli, who focused on the Sicilian region of Italy, which was most affected by the virus and was soon locked in the "The Eye of the Storm" series. Emphasizing the connection with the pandemic in the historical past of the region, Majoli states the following while talking about a cycle of destiny in the geographical sense: “Up north, people are good at masking their anguish. But in Sicily, everything is always more theatrical, more epic. They feel sorrow more deeply, more philosophically, because their worldview is a couple of centuries behind. In Sicily, I realized, I‟d see more of a visual sense of this tragedy” (int. Vanityfair, Majoli, 2020). In his serie, Majoli emphasized the perception dominated by the uneasiness and melancholy created by the pandemic in black and white tones of the region. He processed the dimension of the tragedy in the accompaniment of a number of religious scenes and witnessed the distinctive transformation of isolation and quarantine. “Mojoli‟s this photograph brings to mind our shared humanity in contrast with the mechanized and dehumanized process of handling the high volume of COVID-19 victims. The presence of religion also evokes a theme of grief and the ways in which human beings find comfort when confronted with loss. Although the conditions of the pandemic precluded funerals and religious services from taking place, the priest preserves some measure of human dignity, even in death, through his act of blessing these coffins” (int. Siniteartmuseum.Costa, 2021). Majoli included an image taken with the tomography technique in his series, which is a medical imaging device. The content of the image depicts the moment of cry that expresses a horror and resembles an abstract form. This kind of quotation again reveals, in all its reality, this process that science and humanity are trying to cope with. Conclusion Both the "Pandemic Diary" and the individual and active contributions of photographers emphasize the power of the use of photography in the reflection of the chaos, which evokes an ambiguous future, of humanity living similar lives in different geographies. Within the framework of the documentary understanding structured in 215 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 a humanist context, they adapt the spirit of struggle of empathy and sharing the common destiny. Providing this kind of visibility is the presentation of an existential panorama to the future in the human family where concepts such as border and distance are discussed in an extraordinary way. As a result of his collaboration with the audience, he created a pool in the cyber world and included the concept of the diary in his archive. Including the personal lives of Magnum member photographers in the process, such as sharing lock down stories, draws attention to the formation of a different perception about the limits of human mobility. Photographers, each expressing a global break in different geographies, have become visible in virtual environments, which are a common meeting point. On the other hand, Magnum, one of the leading institutions of the archive phenomenon, stepped into a pioneering practice and shared the constant meaning of diary all over the world by making humanity equal. They continue with the opportunities offered by the internet, which is an inevitable communication network of the age. Common topics combining human experience have been systematically made available. On the other hand, the fact that they include different techniques and methods in their aesthetics and visions, in other words, breaking the molds, may be evidence of their convergence to the conceptual framework of photography that intersects with philosophy and sociology. It is possible that the methods shown as examples here are imaging methods of science and they benefit from their advantages. These practices raise the issue of proof of reality, which is one of the discourses of documentary photography. These techniques make an interpretation of the essence of humanity mentioned by D'Agata and at the same time represent an aesthetic existence. Another important point that we can say with its connection with the audience during the Covid -19 process is that an important sharing of information takes place as a result of the viewer's easy access to these practices. In other words, covid-19 has been the post-truth era and the time period in which the information encountered today is the most spread and demanded through maps or systemic graphics. Magnum members' systematic contributions provided the audience with an aesthetic agenda in terms of information. References Books Sontag, Susan, 2001, On Photography, Picador Press: New York. Miller, Russel,2008, Magnum: Efsanevi Fotoğraf Ajansının Hikayesi, (Çev: Tamer Tosun), Agora Kitaplığı: İstanbul. Smith, Haydn Ian, 2018, Fotoğrafın Kısa öyküsü, (Çev: Deniz Öztok), Hep Kitap: İstanbul. Bogre, Michelle, 2019, Documentary Photography Reconsidered; History, Theory and Practice, Routledge: New York Norman, Richard, 2004, On Humanism, Routledge: New York. Oral, Merter, 2011, Weimer Cumhuriyetinden Günümüze Fotoğraf Ajanslarının Fotojurnalizme Katkıları, Espas Yay: İstanbul. Essays Griffin, Michael, 1999, The Great War Photographs: Constructing Mytths of History and Photojournalism, Picturing the past: Media, History, and Photography Journal, pp.122-127 Jeannotte, M. Sharon, 2021, When gigs are göne: Valuing arts, culture and media in the Covid-19 Pandemic, Sovial Science&Humanities Open 3, University of Ottova, Canada Internet https://www.nationalgeographic.com/history/article/pictures-capture-hushed-world 14.04.2021) (Erişim Tarihi: https://www.magnumphotos.com/newsroom/im-starting-to-feel-the-pain-antoine-agata-covid-19coronavirus/ (Erişim Tarihi: 12.04.2021). https://www.vanityfair.com/news/2020/03/coronavirus-in-italy-scenes-from-the-eye-of-the-storm Tarihi: 11.04.2021). (Erişim https://sniteartmuseum.nd.edu/about-us/press-room/the-snite-museum-of-art-acquires-a-work-by-magnumphotographer-alex-majoli-from-the-eye-of-the-storm-series/ (Erişim Tarihi: 10.04.2021). 216 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 From Prehistoric Art to Contemporary Art: A Continuous Spiritual Expression Peirui Yang University of Alcal , Alcal de Henares (Madrid), Spain peirui.yang@edu.uah.es Abstract This research puts forward the spirit and inner expression of prehistoric art through the comparative analysis of prehistoric art and contemporary art, under the framework of postmodern wave and art philosophy. In the process of prehistoric art research, from the initial unique artistic understanding to the climax of the postmodern wave, we can see the participation of different disciplines in this field. In this research, I hope to explore the continuity of spiritual expression, which is always the subject of humanity, because the spirit is our most primitive and innermost. Exploring the subject involves all aspects of human beings, but the most important thing is internalization, because spiritual expression and internalization are two inseparable artistic concepts. Keywords: Prehistoric art, contemporary art, spiritual continuity, inner spirit, artistic continuity 1. Introduction What is the essence of art? This is a question that we generally think about, and there is no clear answer to this question. Prehistoric art has extremely complex symbolic forms. In fact, the study of prehistoric art has many different theories and interpretation methods, which are closely related to archaeological theories. In the process of prehistoric art research, we can see the intervention of different disciplines in this field, from the original unique artistic understanding to the climax of the entire post-modern wave. As I have always believed, we cannot reject any theory. Through our understanding of the postmodern wave, we realize that archaeology and prehistoric art are a more self-oriented trend in the context of contemporary consciousness. Because the spirit is the most important part. In this research, I hope to explore the continuity of spiritual expression. Although the theme itself has its own taste, spiritual expression is always the theme of human nature, because the spirit is our most primitive and most internalized. Exploring this topic will involve all aspects of human beings, but the most important thing is internalization, because spiritual expression and internalization are two inseparable artistic concepts, and in many cases, humans will also form their own artistic concepts, spirits and internal systems. Although we should realize that in the study of prehistoric art, there are even some conclusions that can explain some collective works of art: we cannot deny the collective form, but we must pay more attention to the configuration of ourselves. In many cases, art is even a very personal thing. This privatization is not only reflected in the spirit conveyed by art, but also in different techniques and methods. 2. The development background of symbolic archaeology The postmodern wave was one of the most important turning points of the entire 20th century. The representative culture of the modern world, the philosophy of the subject, and the transformation of a rationalized worldview throughout postwar and post-industrial society vanished. When the transformation of the worldview is combined with the development of science and forms a change of perspective, modern autonomy has brought about changes in different fields such as the humanities, politics, economics and society, but this is not the case of the postmodernism. The state of postmodernity is not a concept of time, but a postmodernity that continues into modern times or is called modernity. In the process that takes place from the Middle Ages to the present, in a philosophical sense, it is a turn of anthropocentrism. It deconstructs, criticizes and denies a definition of bourgeois. Postmodernists are constantly drifting away from modernity. But in this process, there is no relationship between the participants and the spectators. They are all part of the whole process and are all within the universe. They are aimed at a more open vision and as such the postmodern wave can spread to all parts of society. But the prevalence of postmodernism today does not mean that the past no longer affects the present. For a wave, even a 217 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 genre, an idea. He does not completely abandon the past, establish a new doctrine or a new world, but completes an ever-evolving transformation. This change is not mandatory, and we can even say that it is subtle. It comes from thought, but it also goes to thought. Archaeology itself is an independent and complex discipline. In the development of contemporary archaeology, through the continuous development of theories, such as the intervention of diversified thinkers and philosophers, archaeological theory has undergone a qualitative change. This type of intervention is more primitive in the postmodern wave, and this intervention is not mandatory, but is described in deconstruction and construction. Contemporary archaeological theories incorporate different disciplines such as anthropology and sociology. The construction and structure of archaeological theory is also an identification of philosophical theory, art theory, and even sociological theory. In contemporary art methodology, structuralism, post-process and deconstruction are all planned in semiotics (Adams, 1993). In the same way, to understand archaeological theories, as from the procedural to the post-processual, the theories have undergone a very complex construction and deconstruction. At the same time, semiotics also plays a changing role in archaeological theory. Most post-process archaeologists agree with the influence of anthropology and the social sciences and even Marxism. If we think of theory change as a social movement, then it can be said to be a major change in the history of archaeological theory. Symbolic archaeology develops on the basis of structuralism, and the structure in archaeology must also be explained in the symbol. Symbolism is a very important concept in both process archaeology and post-process archaeology. It exists in construction and also in deconstruction. The ability of humans to integrate with the environment far exceeds that of other animals, because in addition to the detection system and the system in operation, humans have developed a unique symbolic system, and human beings are symbolic animals (Ernst, 1994). Symbols are part of human history, be it social structure or material remains, symbols are born in all human life, and also in the spiritual world of humanity, even in the world of death. Symbolic archaeology and structural archaeology are inextricably linked, and the sources of the theory complement each other. But symbolic archaeology is the construction and deconstruction of archaeology, because in symbolic archaeology, the concept is understood through symbols, whether the symbol is subjective or objective, it is a structural understanding, whether structural or subsequent to the structure. The vision of the doctrine, which exists in the structure, be it construction or deconstruction, is based on the study of symbols. The development of symbolic archaeology also represents the evolution of archaeology, because the symbols are always there. 3. Symbolic system in prehistory The most important way to understand prehistory is through the symbolic system, and the symbolic system has many expressions, which also form a complete symbolic system. The symbolic system is diversified and presents an interdisciplinary trend. Symbolism as a system necessarily has its own position and laws. Humans and animals can imitate the sequence of actions in their inner world (Jeannerod, 1994), which is also a systemic law of its own. The symbolic system is very important because the system expresses a collection of things. The inner world of humanity can also be seen as a collection of all independent representations (Gärdenfors, 2004). The symbolic system, as a complete system of meaning, leads the way of expression and the spiritual universe, and the spiritual universe can also be called the inner world. It seems that many animals have an inner world, as mice can find the best way through the maze, and the best way to search for mice is to have some form of space map in their minds (Tolman, 1948). Although this claim has some kind of hypothesis and this research was done many years ago, we can still find some subtle things, the inner world and the spiritual universe are still a great treasure. Through these symbolic things to explore the meaning behind this, this is the meaning of the symbolic system, and the ultimate mission of the symbolic system, which symbolizes things, and also as a reflection. In prehistoric times, the art that we cannot ignore is rock art. In archaeological records, rock art is also the most easily accessible cultural data. They convey the vision of the world of artists from the past to the present, forming a visual dialogue that makes today. Audiences and researchers can understand the world past through these cave paintings (Chattopadhyaya, 2016). This type of worldview is a spiritual universe, which has an intrinsic symbolic system, and the expression of this system exists in the visual dialogue of the cave paintings. Calling the creator of cave paintings an artist is an aesthetic expression due to his unique historical nature. Studying the spiritual universe and the inner world through prehistoric art is not only reconstructing the past, but also establishing a dialogue, a dialogue between the past and the present, and understanding the inner meaning through dialogue. 218 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The symbolic system in Prehistory can really be seen as an art form that links the symbolic system to prehistoric art. In particular, rock art, as a form of evidence, can explain a worldview, it can also be seen as evidence of self-expression, or social norms and values, as the realism in cave paintings is an interpretation of prehistory. The potential source of society and the combination of continuous cultural sequences and archaeological stratigraphy in the image can express a holistic view of society and culture (Chakraverty, 2009). The art form and the symbolic system combine to form a symbolic system in prehistory through images, or acoustics, and more scientific methods. 4. The artistic conception of schematic art The analysis of schematic art is imaginative work, and schematic art itself is full of imagination. The symbolic conception is stored in our inner world from the source, and we must explore it with imagination. Any work has its own reasons, but creation is usually not an excuse for them, but a way of expressing emotions directly. Although human beings‘ express emotions in many ways, such as through language and action, through music, we can collectively call them art, just as the art of language, art of action, and music itself is a branch of art. To analyze a work of art, in the first place, not to look at the artistic genre of this work, or its political importance. Although works of art are also intended to express political ideas, we must first acknowledge the art itself, so when we start to analyze works of art, we should treat it globally. Figure1 - Europe: Prehistoric Rock Art, Post-Paleolithic schematic art in Europe. (a) Los Letreros (Almeria, Spain). (b) Porto Badisco (Pouilles, Italy). (c) Campo Lameiro (Galicia, Spain). (d) Naquane (Valcamonica, Italy). (e) Domingo Garcia (Se govia, Spain). (f) Tanum (Bohusla n, Sweden) (Photos: G. Sauvet (a–e); Sven Rosborn (f) (Figure is licensed under the Creative Com- mons Attribution 2.0 Generic license)).( Sauvet et al.,2014) What does the overview mean? This is a problem with nihilism, because grasping the general vision of art is very embarrassing, art itself is uncertain and we cannot control this uncertainty, even though we can touch it. A painting, listening to music, but we still cannot go back to the moment when art produced at that moment that kind of state that is almost divine. Art is divine. It does not mean that I admit the image of the shaman in prehistoric art, or that I use a religion to explain art. What I mean is the divinity of art itself. It is not from religion, or the beliefs that exist in some prehistoric society. This divinity comes from the art itself, be it schematism or naturalism, it has its own divinity, or more elaborate, this is an apocalyptic sensory experience, and the apocalypse does not come from some mysterious religious forces. It is art itself, the creator itself, the state itself, the atmosphere itself, the symbol, and the conception itself. 219 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 For art, no matter what aspect you are talking about, you should not abandon your most important point of view. And it remains irreversible, because the atmosphere and the state exist in the past, which means that it cannot be reborn, we cannot reproduce the creative process of art, perhaps we can glimpse some details through the artist's description and memories. But for prehistoric art, it is very far from us in time, and even today's past is an eternity for us. But in fact, our present is very close to prehistoric society, so we always go back to the past. This is due to the experience of eternal empathy of human beings. This does not mean that we can experience the pain or sadness of others. They are our common feelings, our emotions are similar in nature, because our emotions continue forever, although time passes, our life every minute is the past, but emotions last forever, our inner world is always there. 5. Schematic art and the spiritual continuity of contemporary art Contemporary art is complex, and this complexity comes from its expression, just as we see many different works in the museum. Some media, photography and expression are diversified, but in spirit. The theme is certainly similar, it represents its original emotions, our annual emotional experience, which is derived from art but is sublimated in it. It is very unfair to give a precise definition of anything, because the definition will be overthrown, and the theory will be overthrown. Although the society we live in has been advancing, we still need open spaces to think, contemporary art, prehistoric art, medieval art, what do these things called art express? Figure 2-La dama del pan de Riga Alberto S nchez Pérez.Toledo, España, 1895 - Moscú, Rusia, 1962.(Museo Reina Sofía) Therefore, spiritual expression and internalization are an open question. It does not belong to the category of archaeology. It does not belong to the category of art. It does not belong to any discipline that can be framed. This problem is free. This freedom and spirit are the same as the interiors. They are the ideal gardens for humans. Although sometimes we do not hesitate to destroy them, but after being destroyed, they are still the most important. Wide that nothing can bind our spirit and inner being, it is called the inner world because, whether through art to convey our emotions, or by other means, its immensity has never changed. But art is not the ultimate, because the era does not exist, continuity is not controlled by the times, nothing can control continuity, continuity is perpetuated. In Figure 6, the symbol is always a medium of the human metaphor, and the essence of this medium never changes. Art is like an export of the human spirit, and the subject of the discussion itself is the continuity of the spirit, of the works of art. This medium enters the spirit and observes the continuity through changes in symbols. This is a continuation of the symbol. When the identity of an archaeologist overlaps with the identity of an artist or an art critic, it has an unexpected effect, because art always talks to art, and the dialogue between art and art is straightforward. 220 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 6. Conclusion Like the question posed in the introduction, the essence of art, there is no definitive answer to this question, but in current content, we are constantly approaching it. As we continue to get closer to the essence of art, we are closer to inner spirituality. The theme that develops is internal and spiritual. Textual thinking is more conducive to the development of our tracing theory. The postmodern wave is a new prelude. It is not only the carnival of postmodernists, but also the academic one. A kind of progress, this progress is not reflected in theoretical change, but also in a kind of spiritual openness. References Adams, L. (1993). Art and psychoanalysis. New York London Routledge. Chakraverty, S. (2009). InterpretIng rock Art In IndIA: A HolIstIc And cognItIve ApproAcH. In PAPERS XXIII Valcamonica Symposium. Retrieved from https://www.ccsp.it/web/INFOCCSP/VCS%20storico/vcs2009pdf/Chackraverty.pdf Chattopadhyaya, I. (2016). Living Tradition: A Study of Prehistoric Rock-paintings and Indigenous Art from District Sonbhadra, Southern Uttar Pradesh, India. Athens Journal of Humanities and Arts, 3(4), 251–270. https://doi.org/10.30958/ajha.3.4.3 Ernst Cassirer.(1944).An essay on man.Doubleday & Company. Gärdenfors, P. (2004). Cooperation and the evolution of symbolic communication. Lund University, 237– 256. Retrieved from https://www.lunduniversity.lu.se/lup/publication/370a1981-9214-4621-989c- d9fcffd028c2 Jeannerod, M. (1994).―The representing brain, neural correlates of motor intention and imagery,‖ Behavioral and Brain Sciences, 187-202. Sauvet G., Sainz C.G., Sanchidri n J.L., Villaverde V. (2014) Europe: Prehistoric Rock Art. In: Smith C. (eds) Encyclopedia of Global Archaeology. Springer, New York, NY. Tolman, E. C. (1948). ―Cognitive maps in rats and men,‖ Psychological Review 55, 189-208. 221 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Mnemosphere Project. Power of Images Galasso, Clorinda Sissi; Cecchi, Marta Elisa; Calvo Ivanovic, Ingrid; Borin, Ambra; Mastrantoni, Claudia; Scagnoli, Martina Politecnico di Milano - Design Department, clorindasissi.galasso@polimi.it Abstract We are immersed in a society built on images, through which we try to communicate and leave our trace. Memory and remembrance seem to be recurrent thoughts of our time, able to penetrate our deepest and most ancient instincts and feelings. Visual culture is part of many different disciplines and fields with a creative and artistic approach to investigating. In this sense, Design contributes to enhancing this visual language and could help expand memory studies in seeking a relationship between imaginative horizons and the emotions they trigger. Mnemosphere, through an interdisciplinary approach, investigates how the memory of places is designed and communicated through experiential spaces capable of stimulating emotions. The research proposes a dialogue between communication design and exhibit design in the atmospheric dimension; it approaches with a particular focus on emotions, chromatic perception, and the design of temporary spaces and services. The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres of spaces, and atlas of emotions, among others. Then, the project intends to investigate the themes that emerged by analysing their specific communicative and visual components by collecting data to analyse parameters and red threads to design spaces linked to memory and emotions. The result is a collective and participated visual archive, the Mnemosphere Atlas, in which emerges the power through which images can narrate personal and collective memories in the present moment. This is being done through an open call for images, spread online through the project‘s platforms. The shared archive and the results will be available online to contribute to a different perspective on visual culture in the creative and design fields of knowledge. https://www.mnemosphere.polimi.it/ Keywords: visual culture; atlas; memory of places; emotions; exhibition; atmosphere. Premises Mnemosphere is a research project, still in progress, which started in the context of the second edition of the MiniFARB call for proposals for the funding of interdisciplinary research projects, promoted by the Department of Design, Politecnico di Milano, and involving PhD students and research fellows. Through this call, activities linked to the research strands defined by the Dipartimento di Eccellenza are promoted, encouraging intersection and synergy among the new actors of the Department. Furthermore, this activity aims to foster collaboration and the growth and recognition of researchers at the national and international level. Introduction Considering "the memory of places" as an active and dynamic concept, not only rooted in the past, it is possible to expand its horizon until it enters into a design perspective that includes different disciplinary fields. Territory‘s heritage can thus dialogue with the tools of the present, being translated into new communicative and spatial solutions. From this perspective, exhibition displays have the inherent ability to bring back interests and issues that cut across historical and geographical contexts, questioning traditional frameworks and pointing to new ways of presenting them. Given the intrinsic complexity of the memory/emotions/space dimension, Mnemosphere project is based on an analysis of ―mnestic‖ activation systems and devices from a multidisciplinary viewpoint. The final scope is to 222 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 establish parameters and guidelines capable of responding to the need, embedded in the very nature of the memory of places, to reactivate itself in the contemporary world. The research project comprises a multidisciplinary research team with different backgrounds, driven by a common goal of achieving multiple interpretations of the theme. Mnemosphere, therefore, bases its research approach on a synergistic collaboration between different disciplines. The driving force behind the research is the dialogue between communication design for the territory and exhibition design in the atmospheric dimension, with particular emphasis on the translation of content into a system for the design and understanding of the constructed mnestic space. The transversal nature of the research is enriched with references to the study and analysis of emotions, chromatic perception, and the design of temporary spaces and services. According to Walter Benjamin, memory is not a tool for exploring the past but rather a setting for it (2003, p.265). So the memory of places is the context in which the interdisciplinary actors of the research move, allowing for deepening the themes according to different perspectives and points of view. (Fig.1). Colour is one of the fundamental elements in the design of the experience of space and memory. The chromatic aspect that characterises an environment can stimulate perceptual and emotional responses in individuals, affecting their behaviour (Kotler, 1973 in Yildirim, Akalinbaskaya and Hidayetoglu, 2007, p. 3233) and therefore their personal narrative. According to Birren (2006), colours have different emotional impacts and affect how people relate to space and memory, evoking individual and collective emotions. The research project proposes an original approach to studying colour and its relationship with memory and emotion in spatial contexts: environments where complex patterns interact with perceptions and behaviour (Tofle, Schwarz, Voon and Max Royaie, 2004). The study of colours allows the physical nature of memory to emerge, which is first and foremost the result of the senses and perception and is therefore emotionally charged. Emotions involve complex physiological processes ―memory affects physical organs and engages our somatic being [...]. The objects that are architectonically set in place and revisited in the architectural mnemonic include ideas and feelings, which are thus understood as fundaments of collective decor" (Bruno, 2009, p.22). In this context, we add the spatial experience that finds its exploratory focus in the discipline of design of spaces and services whose transformation and manipulation depend not only on perception but also on the system of actions-interactions that occur in them. As a result, spatial design frequently encounters a redefinition of the parameters that allow for a better relationship and interaction between people, even improving the sense of the shared heritage of a place, meeting the relational nature of services. (Fassi, Galluzzo, Marlow, 2018). Figure 1: Mnemosphere theoretical framework, 2020. 223 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Objectives and related activities As part of the interdisciplinary dialogue within Design, the Mnemosphere research investigates how the memory of places can be ―awakened‖ through the atmospheric design of spaces. The investigation has been divided into two intermediate objectives, which in a different and combined way, intend to investigate the research theme from both a theoretical and practical point of view, namely: - To establish how the different disciplines involved in the research contribute in a specific and transversal way to the themes of the setting up of the memory of places, starting from the existing literature, together with moments of comparison with the scientific community of reference; - Investigating the research theme through field activities, aimed at collecting data and elements useful for defining parameters; analysing, synthesising and critically interpreting the data and conducted experiences, thus defining guidelines to contribute to the knowledge of design in the axis of memory/emotions/spaces. The Mnemosphere project is structured in three main phases of action and related specific activities of analysis and data collection: - The first phase, defined as "Exploration", addresses the analysis of the specific state of the art for each disciplinary field, intending to reach a shared and unitary theoretical framework; - The second phase, "Meta-Analysis", aims at collecting different kinds of data through field activities; - The third phase, "Synthesis―, aimed to determine a system of parameters, guidelines, and specific tools, with a subsequent synthesis and critical review of the results obtained. At present, the project is still in the progress phase, specifically in the intermediate stage defined as "Metaanalysis", and has not yet reached the expected objectives and results. Therefore, we will describe the preliminary steps that have allowed the progressive evolution of the project and the presentation of the research at its current state. Phase 1 - Exploration The intuitive understanding of a composite word, a portmanteau, seems to fade as soon as one tries to give it an exact and precise definition. Such a phenomenon occurs when we try to define the atmosphere of a space or the memory of places, which establish an emotional connection with the perceiver. Therefore, the research seeks not to give a single definition to the concept "mnemosphere" but to draw on the intrinsic intangibility of its substance and the plurality of voices it contains. The initial step was to identify a semantic perimeter for the term and the constellation of concepts that the research encompasses. This preliminary consideration led to the need to place a theoretical framework that could structure the conceptual orientation of the study, together with a shared value system. The research‘s first output and navigation tool was decided to adopt a vocabulary containing an articulated lexicon of reference. To do this, a questionnaire was set up within the research team, which could bring out the sensitivity and specificity of each individual member and act as a tool and means of "harmonising" personal views and perspectives. The lexicon was drafted starting from the synthesis and shared interpretation of the answers collected and the extrapolation of the key concepts identified by each member. This restoring method was designed to take account of the semantic nuances that each term takes on various disciplinary fields. The Mnemosphere dictionary has a specific value in the individual disciplinary fields and a choral value in the research context. It is used as a hermeneutic and navigational tool in the sphere of memory/emotions/spaces. Phase 2 - Meta-Analysis While the semantic value of terms defines the limits of language by analysing linguistic "symbols", syntax deals with the relationship between the individual compositional elements and their functions. The current phase of "Meta-analysis", after the first part of framing and defining intentions, focuses precisely on this aspect, 224 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 analysing the relationships and reactions between the individual components. This phase then focuses on the evaluation and implementation of the theoretical assumptions. The importance of content visualisation is a fundamental aspect in defining guidelines and parameters for designing spaces that communicate and enhance the memory of places. The atmosphere of a space or an environment can visually evoke something already experienced in the peripheral of one's own experience, bringing the memory to the surface without being made explicit verbally. The evocative power of images, defined as atmospheric, is essential because they can recreate the sense of context and place and the historical and cultural horizon that characterises them. Therefore, the definition of a graphic identity was necessary to support the subsequent development of the research. Visual Identity The designed visual system aims to integrate the different thematic areas of research corresponding to the approaches of the group‘s members, focusing above all on their points of contact. The system consists of coordinated and shared formal and chromatic elements. The formal aspect of the system was developed from circularity as an element with dynamic potential for representing abstract concepts such as memory and emotions and reference to the unifying element of the sphere, which alludes to the threedimensionality of space. The chromatic aspect of the system evolved from the differentiation of the five themes of research development, namely memory, emotion, colour, atmosphere, and space. A colour code and a specif shade were assigned to each of them: memory - beige; emotion - orange; colour - red; atmosphere - green; space - blue. The five primary shades have different brightness levels (high, medium and low) and saturation (medium and low), underlining the differences and complexity of the concepts represented. Fig.2: Mnemosphere Graphic Identity, 2020. Chromatic code and colours mixture. The graphic identity manages to overcome conceptual singularities by visually identifying specific palettes for each interdisciplinary dialogue. The central axis memory/emotions/spaces is represented through the manifestation of the logo and the secondary connections through the mixtures of chromatic codes. (Fig.2). These colour codes will then be applied to stratify the concepts in the photographic images that will compose the moodboard of the research project. Moodboard as a design tool 225 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The moodboard tool is an aggregate of evocative, visually stimulating images representing spatial aspects, qualities of movement, material properties, and aesthetic perspectives. This tool inspires creative thinking and guides discussions and reflections on abstract and concrete concepts, facilitating the transition and intimate relationship between the conceptual qualities and technical details of a project. The idea of mood is by definition, linked to the atmosphere of a space. It represents the mood of an environment, capable of involving and stimulating the person passing through it at that precise moment. Designing the mood of space also means stimulating the emotions, memories and recollections linked to places. Given these premises, it seemed essential to start an activity of visual translation of the contents through this system to use the moodboard tool as an actual evocative device and design tool. It was then decided to hybridise it with a social form of communication, opting for Instagram, considering the visual and connective vocation of the platform. By setting up this type of interface, the tones and moods that want to be spread and communicated to users are made more explicit, inspiring collective participation. The aesthetics of the contents (Baule, 2014) is understood as the collection of evocative elements of various natures aimed at the creation of an "emotional landscape", a virtual atlas composed of images, concepts and colours, aiming at a more "intimate" approach, intended to involve different users in research increasingly. This type of digital communication is also an essential ongoing tool for collecting data and sharing the results obtained. It is precisely through these devices that research was able to launch open calls for images of the project, proposing the gathering of images and terms to enrich the mnemospheric vocabulary. The analysis of the images and vocabulary received, through a process of progressive symbolic abstraction, will make it possible to convert the data collected into parameters and valuable guidelines for communicating the specific values of the research. Open Call for Images In line with all the above considerations, the aim was to organise a data collection activity that would compensate for the impossibility of organising presence workshops, but that could involve a broad international audience from different backgrounds. Moreover, the challenge was to use a tool, the open call, usually connected to the art world, and apply it to a design study to approach this issue with a different sensitivity. The decision to use the open call format came about precisely because, from the very start, the research enabled exploration of the topic through extensive textual input, such as the glossary, references, and open-ended responses. However, this mode of communication primarily was missing visual and imaginative supports. The call remained open for three months, and here is the structure in detail. 1. The questionnaire The first part consisted of general questions about the participant‘s identity, such as name, age, nationality, contacts and the acceptance of the privacy policy of the Politecnico di Milano. Then, the selfassessment questionnaire was structured according to a list of questions aimed at analysing the mnemosphere structure. The questions opened up the possibility of introducing other key concepts, describing various characteristics and indicating possible synonyms of the term. An exciting chance was to define the concept of mnemosphere through the use of contrary terms, which negated such an intangible and elusive topic. (Fig.3) Other questions were structured through multiple choices, allowing selecting several items simultaneously within the same question. For example, participants were asked to define the mnemosphere in terms of size and movement, imagining what characteristics it might have, according to a personal perspective, (Fig.4) or indicating through multiple choice questions which types of artefacts best reflected their own mnemosphere. It was then possible to extract from the results that the mnemosphere can have different spatial dimensions and does not belong to a single spatial conformation. And then, closed-ended questions seek clear and precise answers on specific aspects of the research to investigate. (Fig.5). 226 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Fig. 3: Inside the questionnaire. Describing mnemosphere through the use of contrary terms. Fig. 4: Inside the questionnaire. Looking for mnemospheric features Fig. 5: Inside the questionnaire. Closed-ended questions. 2. Uploading images The second part of the call was entirely dedicated to images. The call asked participants to upload a maximum of 3 files, but there were no limits on format, style, or communicative language. Images could be photographs, illustrations, paintings, collages, and so on. This kind of expressions variety will be a significant added value for the research. We also asked to insert a title to each image, a set of keywords, year/place of shooting, percentages of colours and senses involved, and an optional brief description to expand even more the mnemospheric horizon. The call ended in March 2021, with over 200 participants worldwide. More than 400 images uploaded showed how the power of images is fundamental in conveying thoughts, experiences, emotions, personal and collective memories, and how they can revive different imaginaries emotional landscapes. (Fig.6). To collect the results, it was decided to also develop a website (https://www.mnemosphere.polimi.it/) to set up an online exhibition of all the images. In this way, people can see all the other images, can be involved in the project and be inspired. Furthermore, the careful analysis of the submitted contributions will lead to the definition of the mnemospheric guidelines. 227 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Fig. 6: Mnemosphere Open Call results, 2021. Mnemosphere Atlas The examination will start by detecting some mnemospheric red threads running through the collected images: shared colours, recurring themes as nature, remembrance, architecture, blurred atmospheres or abstract approaches (Fig. 7). A preliminary subdivision of the images is illustrated below, denoting the different spatial and atmospheric conformations of the subjects and environments depicted. Finally, further readings and subcategories can be identified. All these actions aim to create a collective definition of Mnemosphere and a participatory Mnemospheric Atlas. This type of visual configuration echoes the Mnemosyne Bilderatlas, i.e. Mnemosyne figurative atlas, conceived by Aby Warburg in the late 1920s, and consisting of a series of tables made up of photographic montages that are assembled according to different criteria. In the Mnemosyne Atlas, as in the Mnemosphere project, the arrangement of images placed side by side in such a way as to weave several thematic threads around specific themes creates "fields of tension and provokes the viewer into an open interpretation process: the word to the image" (zum Bild das Wort)" (Iuav, 2012). The research will look for those founding topoi22 of Mnemosphere to open up to new experimentations in the variety of the received images and their designed juxtaposition. Expected Results ―In atmosphere, personal memory and subjective experience come together with designed and regulated environments through sensory perception. The visual is thus one gateway into thinking about atmosphere, but it always solicits more-than-visual sensations as well as the affective and emotional charge that lingers within a scene‖ (Edensor, Sumartojo, 2015, p. 261) A mnemospheric system of parameters, guidelines, and tools is the main expected outcome of the research, expressed in the Atlas mentioned above. It will allow future actions to give continuity to the study and its inclusion in the national and international panorama. In particular, it is expected that this system will be used in the design and academic contexts, linked to all the disciplines involved, but also in real contexts, connected to the enhancement of the memory of places and the setting up of exhibition spaces, such as creative cultural industries, foundations, museums and archives in the territory. It is also planned the realization of an exhibition of the Mnemosphere atlas to show the results of the research and make them interact with the people and public space. The ultimate aim is to trigger around the 22 The term topos derives from the Greek τόπος, topos, 'place' (plural τόποι, tópoi) and means common place. It can therefore be understood as a narrative scheme that can be indefinitely reused, to which a particular narrative motif is often linked. 228 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 interdisciplinary value of the theme, the involvement of experts and academics, to present this research as a further point of view on the culture of the project. Fig. 7: Mnemosphere, preliminary subdivision of the images in atmospheric categories, 2021. This preliminary phase will lead to the creation of an ―ID card‖ (Fig. 8) for each image to show their relationship with the parameters set up at the beginning of the research: atmosphere, memory, space, emotion and colour. 229 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Fig. 8: Mnemosphere ID Cards, 2021. References - Bassanelli M. (2015). Oltre il memoriale. Le tracce, lo spazio, il ricordo. Milano: Mimesis. - Baule, G., et al. (2014). Narrare il territorio: dispositivi e strategie d'innovazione per gli spazi percepiti. Proceedings from V STS Italia Conference: A matter of design - Making society through science and technology. Milano: STS Italia; - Benjamin, W. (2003), Opere complete. Vol V - Scritti 1932-1933. Tiedemann, R., & Schweppenhäuser, H. (a cura di) (E., Gianni, & H., Riediger, Trad.). Torino: Einaudi Editore; - Birren, F. (2006). Colour psychology and colour therapy: A factual study of the influence of colour on human life. Whitefish, MT: Kessinger; - Bruno, G. (2007). Public Intimacy: Architecture and the Visual Arts (Writing Architecture) (1st ed.). The MIT Press. - Bruno, G. (2002). Atlas of emotion: journeys in art, architecture, and film (3rd ed.). Verso. - Edensor, T., & Sumartojo, S. (2015). Designing Atmospheres: introduction to Special Issue. Visual Communication, 14(3), 251–265. - Iuav, C. studi. (2012). Mnemosyne Atlas. La Rivista Di Engramma. 230 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Canan's Representation in the Context of Selfcreation Action in Contemporary Miniatures Nermin Balıkçı Dokuz Eylül University, Master of Arts Graduate Student nerminbalikci35@gmail.com Abstract The aim of this study is; In the context of self representation, it examines the act of creating in Canan's contemporary miniatures and its formation in contemporary art practice. The act of creation reflects the subjectively expression of the artist and his art. In the context of the artist's self representation as a woman, she is the essence of her art and the artist's body. Art itself represents the artist's embodied experience. Within Canan's miniatures, he produces the works of the artist, adapted from the originals and within the framework of his own culture with collage technique. Realizing the ―personal is political‖ discourse for her art in the context of self representation, Canan focuses on identity and gender issues. Having an important place in contemporary art practice, the artist reveals identity and gender issues in his works. This study aims to reveal Canan's dissident artist identity. The study done with the literature review is the self-analysis; It examines it in the context of Canan's art productions. This study is handled from two angles: First, the role of psychoanalytic theories of creativity and its origins in the art process and the perspective of the artist in the framework of ―Self representation‖ is discussed; Secondly, in the context of self- representation, it is questioned in Canan's contemporary miniatures in the works of the artist and in terms of the healing aspect of gender and female identity and art. Keywords: Representation of Self, Canan, Contemporary Miniature Art, Women Introduction In this study, she examines the formation of women in Canan's contemporary miniatures and contemporary art practice in the context of self-representation.Canan's miniature works within the structure of Traditional Turkish Arts; The artist, who adapted from the originals and made them into collages, takes place in contemporary art practice within the framework of his own culture. In the context of gender, in the works producedby using traditional art forms, in the works that the artist creates in the context of self- representation; he makes his discourse, which he considers "the personal as political", thefocal point of his art.Canan, fed by her own culture and geography; In this context, the meaning, oppression and violence that society ascribes to women also demonstrates theirexistence as a woman.Based on the mythological figures and religious representations heuses in his works, he creates the woman image created by today's society in his art with his own coding. Self-Representation from a Psychoanalytic Perspective Heinz Kohut (1913-1981), the founder of the school of self psychology and the architect of the century-old transformation of psychoanalysis, in his book titled "Analysis of the Self" (1971), emphasizes the positive change by bringing a different perspective to the transformation caused by the notion of narcissism. On this plane, the concept of 'Narcissistic' by its nature; can be observed in the context of self-representation of the artist's creation of introspection and empathy. Kohut; he states that creativity emerges with the transformation and change of narcissistic positions, that is, with the increase in empathy (Kohut, 2019:263). Kohut; states that the artist considers the act of creativity as an unconscious act and that it is also related to his personality on this plane and cannot be changed by the intervention of someone else. In this context, Kohut states that the artistic act of humanity represents the phenomena of artistic activity that emerged at a certain stage of the nascissistic state (Kohut, 2019: 259-261). According to the mythological legend; Narcissus, who gave his name to the narcissus flower, has been a source of inspiration for painters and poets throughout the ages (Erhat, 2018:211).According to Esra Aliçavuşoğlu (1973-) from a Psychoanalytic Perspective; When we look at self-representation in the context of the Narcissus myth: Narcissus, who saw his reflection in the water and fell in love with himself, tells us that the 231 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 artist, who creates his own image through the artist, is the focal point (Aliçavuşoğlu, 2016: 88). According to Saffet Murat Tura; He argues that it is close to 'Self-Resolving', that is, 'I Psychology'. By describing the development of the 'I-within-We-experience', in other words, seeing oneself from the outside, Tura; he states that being able to produce projects, creativity, and this contingency are the goals of self psychology (Cooper, 1983,Kohut, 2019:11). Kohut is thought of as a person's self-perception and a set of images about himself (Kohut, cited in Bakay, 2018).To Simone Beuavoir (1908-1986) from another perspective; The woman who ―seeks solace in narcissistic feelings‖ states that thefeeling of an unrecognized and free life is a result of being blocked (Beauvoir, 2019:38). According to Donna Haraway (1944-), who mentions that the notion of the artist and the artist's individuality as narcissistic expression is no longer in question; (Şahiner,2015) individuality is not a historical limitation, it is formed by relationality and argues that it characterizes identity. In today's understanding of art, self-representation can turn into monster fantasies in the works of artists, and at the same time, it gets closer to reality with the development of science and technology. In this context, Haraway states that she ―prefers to be a cyborg rather than a goddess‖. We see that Canan's works, which we evaluate in the context of self-representation, reveal a concreteness in today's art (Cited by Şahiner, 2015:190). In Rolla May's(1909-1994) article titled "Encounter with the World as a Reciprocal Relationship", in his creative act, the encounter is consciously within the person, the person himself, he evaluates it in terms of an encounter of the artist with his own world (May, 2016: 73). In the periods when psychoanalytic theories were put forward; According to Freud's statements on art and creativity in his article "Creative Writers and Daydreams"; focuses on creativity, the processes of creativity, the functions of creativity and the origins of creativity. Freud sees art as an optimistic and basically harmless and positive illusion from a different point of view. In order to illuminate the nature of creativity and reveal the source of artistic inspiration, it focuses on art and artist from a psychoanalytic perspective (Aliçavuşoğlu, 2012: 4). Herbert Read (1893-1968), who states that the artist is the state of his mind that determines the creativity of the individual, states that the artist produces the art production of the individual primarily for himself, but in the cultural sense, the society must present the work of art for acceptance. Referring to Baudelaire, he mentions the necessity of examining the artist's unconscious in the article ―Art and the Subconscious‖ included in his book ―Art and Society‖: “In short, I have to discard a series of links that originate from the main formula or that can be expressed and include all forms of true aesthetics; thus the entire visible universe becomes a showcase of images-signs, to which only imagination gives possibility and relative value; it is a food that the imagination must digest and transform. All the faculties of the human spirit should be supported by the imagination that uses them all at once” (As cited in Read, 2018:111). According to Shulamith Frestone (1945-2012); The artist realized everything with his imagination. In other words, the Greeks did not know how to fly in their own time, but they can realize the dream of flying with the myth of "icarus" in the myths they created with their imagination.It is an indication of how deep the world of imagination is in the context of the creative power of art. Man has made dreams come true with his imagination (Frestone, 1993:182-184). Read states that psychoanalysis theory is an adaptation process that begins with the birth of the individual (Read, 2018:112).The "Oedipus Complex", which is formed with the birth of the individual, emerges. Since the mother's bond perceives any existenceas a threat, it targets the father. But in the future, this threat disappears.It is replaced by its own body and this leads to narcissism (Read, 2018:113). Gender and Women in Canan's Miniatures Judith Butler (2019) refers to Simone de Beauvoir in her article titled ―Gender: The Cyclic Ruins of Contemporary Debate‖ and explains her well-known phrase ―A woman is not born, she is made a woman‖, and she questions whether the concept of woman in gender is given or constructed: “Gender is “constructed,” but these words imply a cogito, an agent who somehow assumes or appropriates that gender, so in principle it is also possible to assume a gender in the first place(...)In Beauvoir's assessment, there is no statement that the "person" who performs the act of being a woman is necessarily female. If Beauvoir's claim that "the body is a state" is valid, we cannot refer to a body that has not already been interpreted by cultural meanings; 232 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 therefore, gender cannot be conceived as a pre-discursive anatomical contingency. (quoted by Beauvoir Butler, Gender Trouble, 2019: 54). Like Simone de Beauvoir, Berna Moran evaluates the concepts of femininity and femininity from a social perspective and explains them as follows: Femininity is natural and innate, but the concept of femininity is determined as a result of social and education(Moran, 2018: 253). With her artist identity, Canan constantly opposes the gender discourse of women and the forms that determine the cultural aspect of women, in the context of self- representation in her art.Artist Canan's reactive stance in miniature art, with the thought that miniature art belongs to the conservative art segment, also exhibits a different stance in the marginalization of traditional arts in western art and historiography. The traditional one; that is, the ignoring of the culture of this geography upon the marginalization of the art belonging to the east enables Canan to bring to light a forgotten culture in her miniatures (Yılmaz, 2010:127). Woman in Canan's Miniatures in the Context of Self-Representation Miniatures are book illustrations created by visualizing the text in which it is contained and by making the information in the text descriptive (Adıgüzel Toprak ,2020). Artist Canan Kybele (2000) in her work; It was inspired by the mother goddess figure, which was revealed in the geese made in Kybele, Çatalhöyük and Hacılar, which belongs to the Anatolian lands, whose history is stated to date back to 6500-700 BC. The figure of the Mother Goddess, which includes the matriarchal society, symbolizes the productivity and vitality of nature in the universal sense (Erhat, 2018:183-187). Picture1: ―Kybele‖, 45 x 60 cm, photograph, 2000. The statues of Cybele, the goddess of Anatolian culture, are usually figurines withbare, wide hips, belly and big breasts. The hip, belly, genital organ has always been used as a symbol of fertility, femininity, confidence and continued life. In her work ―Kybele‖, the artist revives herself in the artist's body, which resembles a sculpture, just as if she was giving birth. In the context of self-representation, Canan's work during the pregnancy of "Kybele" does not make an effort to be beautiful or to make herself look beautiful, but reflects the woman's ongoing domination over her own body with the interpretation of a realistic female body (cananxcanan,2000). Representing the mother goddess figure we see in the context of self- representation, Kybele (2000), this work that she identifies with her own body also represents the self-portrait of the artist. Aliçavuşoğlu‘s ―SelfPortrait, Auto-Biography, Self-Representation…Why Does the Artist Choose to Take Care of Himself?‖ In her 233 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 article titled Canan, she talks about Canan as follows: By not breaking away from her own culture, the artist questions the meanings, traditional codes, oppression and violence that her society ascribes to women in the context of her own body representation. Artist; It tries to break the traditional codes attributed to women by today's society with the images of women and religious representations in mythological figures, in other words, stories reflecting their own culture. She is a contemporary artist who creates gender in her art and a different perspective on traditional arts. Her dissident attitude, questioning the identity of woman in the context of self-representation, is one of the main features of Canan's works (Aliçavuşoğlu, 2016: 96). Picture 2: Miniature photograph of the 'The waq waq Tree', Gold and ink on special paper, size : 68 x 96 cm, 2009. Picture 3: The Spirit of Lust That Haunts You In Dreams, Miniature,Photography, Gold and ink on special paper, size:30 x 30 cm, 2011. 234 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Although the word "Waqwaq" means duck in Turkish in the language of children in his work "Waqwaq Tree", in Ottoman Turkish used at that time, Vakvak is a Persian word and means "fear" (Senol, 2010). In Islamic Mythology, the name "Waqwaq Tree" derives from a mythical tree with fruits in Hell and a human head. Legend of the Waqwaq Tree In the Ottoman period, the janissaries who returned from the Crete War in 1655, could not get their money and rebelled, and this tree, which was hung on the plane tree in Sultanahmet, was called "Şecerei Waqwaq" at that time. As a result of people hanging from trees, this event was called "Vaka-i Vakvakiye". Known for her work on biopolitical concepts, Canan has undertaken the "tale-telling" (Ravi) narrative with the "Waqwaq Tree" that establishes the connection between the past and the present.In the context of self-representation, Canan used her own image, as in many of her works, and created the work by connecting with the historical past of the event that took place in this geography, based on mythological stories.―Waqwaq Tree‖ explains about his miniature and video animation works created with images from the history of Turkey as follows: The artist, who uses the miniature technique and video art works, states that he symbolizes oral history on this plane ( Lebriz,2010).In her interview with Pelin Tan, Canan states that she "artistically carried out an archaeological excavation of this geography" (Senol, 2010). The artist Canan, whose work we look at in the context of self-representation, uses her own body as a figure in her works. Representing his works visually and symbolically, the artist also frequently uses miniatures.The collages made by the artist using miniaturescreate the feeling of a fairy tale with video animations with his documentary approach style. In this context, Canan's works; creates a realistic language with the help of digital technology such as videos, photographs and documentaries (x-ist, 2012:sy). Picture 4: ―Cann and Canan‖, Miniature, Photography, Gold and ink onspecial paper , size:65 x65cm, 2011. 235 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Picture 5: Heaven , 2017 Installation, Tulle curtain, sequins, thread, fabric, bell,light, motor, Photograph: Murat Germen ―Kaf Mountain‖ is based on mythologies and tales and according to Islamic mythology; It is known as the mother of all mountains.In her work Cennet(2017), which is included in the exhibition "Behind the Caf Mountain", curated by Nazlı Gürlek, Canan draws on Carl Jung's 'shadow archetype', focusing on the artist's light and dark, good and evil, woman and man. He states that there are concepts that seem contradictory but actually complement each other cyclically.The artist, who embarks on a journey to find and know ourselves, seeks the balance of her feminine and masculine energy in this context (Arter, 2017). Canan, who reads the feminine energy as the suppression of women, states that "the earth is feminine, the sky is masculine" and states that the thing that cyclically disrupts the balance of all of us: "We have to face our shadows, that is, ourfears, and only then will an equality be achieved with ourselves and we have to find our own balance" (Bereketli, 2017) . Picture 5: ―Exemplary‖, video animation 27'30", Artist's own collection, 2009. The female image we see in the cross-section picture in the video animation work of artist Canan's own collection "Exemplary" is a miniature depiction of the artist's own body. The artist says the following about the work in Canan's collection; the character in the work, the beautiful girl from a poor family, represents the main character in the video: 236 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 “The story that represents the ancient tales reflects the tales of one thousand and one nights. The main character in the work is constantly married, family oppression, political and religious incarnation of the female body; It is the problematic of applying the concept of beauty to women from an orientalist perspective and as an expression of consumerism.The video, which is similar to the classical Ottoman miniature, is used in combination and adapted from most of the original forms (cananxcanan, 2009). ―Conversation with Canan on Exemplary‖ In an interview with the artist held by Garaj Istanbul on November 2009, as part of the Honor Games Week, Canan says the following about the "Exemplary": “I am here to be a narrator, “ravi” means storyteller in Eastern tales, old Eastern tales used to be those who announce the news and convey the news. I think that fairy tales are a kind of oral history narration and there is a grain of truth in every fairy tale. That fairy tale is built on determining life as an example” (Mimesis, 2009). The miniature woman image in the 7th part of the artist's "Perfect Beauty" series, which we examined in the context of self-representation, and the woman image in the video animation "Exemplary" that we saw in the previous picture are very similar to eachother and resemble the artist's own body. In this study, Canan is the work of Abdurrahmanü'ş-Şeyzarî, who lived in the 14th century, known as Tuhfe-i muteehhilîn (a gift for married people) or Müşevvikü't- tabî'a fî emir'l-cimâ' (nature enhancer in sexual intercourse). It is based on an 18th century work by Mustafa Ebü'l-Feyzi't-Tabîb from the Persian text (Schick, 2017). As Canan mentioned in her article in Lebriz; Miniatures from the "Perfect Beauty" series exhibited at ScopeBasel (2009) show that the definition of beauty, which lived in different centuries and geographies, has been changed today and is guided by a masculine point of view (Lebriz, 2010). In the context of the act of art made with a collective point of view, the sources of "fear" can be made cute and undergo changes. This shows us the healing sideof art (Toprak & Şenol, 2020). Result The artist's introspection and empathy can be observed in the context of self- representation of his creation.With the transformation of narcissistic positions, creativity emerges with an increase in empathy.In the act of encountering the artist as a reciprocal relationship with the world, he reveals the mythological figures and existential representations that he stylized in his own world.In the cultural and social sense, it is aimed to deidentify the notion of the body, and the disembodiment process. The artist, one of the pioneers of feminist art in Turkey, questions the social control over the female body by staging her own body and demands a certain position where she can speak as a woman. She emphasizes that femininity created by the woman, society and culture followed in her works is an innate natural concept.She is trying to break the image of woman created by today's society, her formation in contemporary art practice in works of art, with her art.The fact that Canan reads the female figure through her own body in her contemporary miniatures is reflected in her works by displaying an impressive and successful artistic attitude. Bibliography Aliçavuşoğlu, E. (2012). Psychoanalysis, Freud and Art. Art History Yearbook, Marmara University Faculty of Fine Arts, Acıbadem, Istanbul. Aliçavuşoğlu, E. (2016). "Auto-Portrait, Auto-Biography, Representation of Self…Why Does the Artist Choose to Take Care of Himself?‖, Readings on Art 60 Years Overview, Lale Özgenel, Ankara: Odtü Yayıncılık. Beauvoir, S. D. (2019). Second Gender II (Volume 1). (E. Sarıkartal, Dü., & G. Savran, Trans.) Istanbul: Koç University Press. Butler, J. (2019). Gender Trouble. (B. Ertür, Trans.) Istanbul: Metis Publishing. Erhat, A. (2018). Mythology Dictionary. Istanbul: Remzi Bookstore. Frestone, S. (1993). The Dialectic of Sexuality. (Y. Salman, Trans.) Istanbul: PayelPublishing. Kohut, H. (2017). Reconstruction of the Self. (O. Cebeci, Trans.) Istanbul: MetisPublishing. 237 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Kohut, H. (2019). Resolution of the Self. (C. Atbaşoğlu, B. Büyükkal, & C. İşcan, Trans.)Istanbul: Metis Publications. May, R. (2016). Courage to Create. (A. However, Trans.) Istanbul: Metis Publications. Read, Herbert (2018). Art and Society. (E. Kök Trans.) Istanbul: Hayalperest Publishing House. Shiner, L. (2018). The Invention of Art. (İ. Türkmen, Trans.) Istanbul: AyrıntıPublications. Şahiner, R. (2015). The Crisis of Representation in Contemporary Art . Ankara: UtopiaPublishing House. Uner Yilmaz, P. (2010). Gender Reading in Turkey from the Works of Canan Şenol. Seven DEU GSF Journal (4), 125-134. Picture 6: ―Perfect Beauty‖ 35 x 50 cm series of paintings, page7, photograph, gold and ink on special paper, 2009. 238 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Internet Bibliography Arter, (2017). 'Nazlı Gürlek's interview with CANAN', retrieved from https://www.youtube.com/watch?v=4-2XiZqu-JI on 05.02.2021. Bakay, M. (2018, March 1). Personality Dynamics and Self Psychology. Retrieved March05, 2021 from Mehmet Bakay Psychologist: https://psikologmehmetbakay.com/heinz-kohut-kimdir-kendilik-nesnesi-kurami- ve-kisilik/. Bereketli, E., (2017). ―Woman running to Mount Qaf‖, retrieved on 05.06.2020 from https://www.unlimitedrag.com/post/kaf-dagina-kosan-kadin. Garage Istanbul. (2009, November 27). Conversation with Canan Şenol on Ibretnüma. Mimesis in April 2021. Retrieved from. Lebriz (2010). Canan Şenol: ―The Cat Has a Mustache too‖ Retrieved on 05.03.2021from ttp://lebriz.com/pages/lsd.aspx?lang=TR&sectionID=1&articleID=749. Mimesis, (2009, November 27). Conversation with Canan Şenol on Ibretnüma. Preparedfor Garage Istanbul, on 2/ March 2021, http://www.mimesis- dergi.org/2010/02/canan-senol-ileibretnuma-uzerine-soylesi-. Retrieved from. Schick, I. C. (2017, April 20). Post-modernism, miniature art and Canan. Retrieved fromT24 Independent Internet Newspaper on June 2, 2020:https://t24.com.tr/k24/yazi/post-modernizm-minyatur- sanati-ve-canansenol,1182. Sonmez, A. (2016, January 24). Canan has been making a single performance for years. Retrieved on April 6, 2021 from Sanatatak: http://www.sanatatak.com/view/canan-yillardir-tek-bir-performans-yapiyor Şenol, C. (2010, January 21). Mustache Cat Also Exists. (P. Tan, Interviewer) Retrieved April 6, 2021, from http://www.cananxcanan.com/textimages/even%20a%20cat%20has%20a%20m ustache.pdf. Toprak, F. A., & Şenol, C. (2020, September 24). Miniature 2.0 exhibition. (G. Özkara, Interviewer) Retrieved on April 11, 2021 from https://www.youtube.com/watch?v=h2K0YrlvMmw x-ist,(2012).'Türk Lokumu,CANAN', retrieved fromhttps://www.artxist.com/Exhibitions/Turkish-Delight/105 on 05.06.2020. Visual Bibliography Picture 1: canan x canan (2000). ―Kybele‖ http://www.cananxcanan.com/(Access Date:2.05.2020). Picture 2: canan x canan (2009). ―Waqwaq Tree‖, http://www.cananxcanan.com/(Access Date:3.05.2020). Picture 3: canan x canan (2011). ―The Genie of Lust Invading Dreams‖, http://www.cananxcanan.com/ (Access Date: 03.05.2020). Picture4: canan x canan (2011) ―canan and canan‖,http://www.cananxcanan.com/(Access Date: 2.05.2020). Picture5: canan x canan http://www.cananxcanan.com (access date: 11.03.2021). (2017) Cennet, 2017Statue, Picture6: canan x canan (2009)‖ ―Exemplary‖, video animation 27'30", http://www.cananxcanan.com/(Access Date:2.05.2020). Picture7: canan x canan http://www.cananxcanan.com/ (Access Date: 2.05.2020). (2009) ―Perfect Beauty‖, 239 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Positive Effect of the Art on the War-affected Children Saime UYAR Hacettepe University, Institute of Fine Arts, Ph.D. Student saime44uyar@gmail.com Abstract Art, which has existed in many different disciplines in the history of humanity, has always witnessed the problems of the age it lives in and contributed to the development and shaping of humanity and finding remedial solutions to problems related to humanity. It is known that the psychological therapeutic power of art especially on disadvantaged audiences is confirmed by many clinical studies. In this context, several artistic activities were carried out in April 2019 to improve the lives of Syrian refugees living in Malatya Refugee Camp who were victims of war. These artistic activities aimed at reducing the psychological traumas caused by the war on these people and contributing to their embrace of life with hope were carried out with Syrian refugees in the camp under the leadership of Visual Arts Teacher Saime Uyar. These activities have had a very positive effect, especially on children. The camp environment, in which they could freely express their feelings and thoughts they could not express with words, was transformed into a meaningful and colorful environment for them. They had the opportunity to rehabilitate their emotions with various visual creations blended with tragedy and hope. Keywords: Art, Art Therapy, War, Refugee Children In this study titled "Positive Effect of the Art on the War-Affected Children‖, the positive effect of art on Syrian refugee children who escaped from the Syrian civil war and took refuge in our country was mentioned. Wars that have existed since the first historical records have always been the main causes of the existence of mass refugees. The refugee problem, which is one of today's important problems, has become an ever-increasingly and serious crisis and has become a common problem of the whole world. The migrant crisis, especially in the Aegean islands, reveals that there is a serious deformation problem in humanity along with the refugee crisis. Of course, the efforts of international organizations such as the UN, UNHCR, and UNICEF to produce solutions to refugee problems have great importance. However, the refugee problem is difficult to solve because it is also a political problem. From this point of view, every authority that helps out with the problem makes important contributions. In this context, the role of art is of great importance, both directly and indirectly. The sociological, psychological, cultural, and political effects of art in human history have come from the pages of history until today. In addition to witnessing the age in which art lived, it also addressed the problems of the age from different perspectives and interacted with the solution of the problem. This has sometimes occurred politically, sometimes culturally, and sometimes psychologically. With the globalizing world, some fundamental problems have not only remained within certain boundaries but have become a common problem for all nations. For example, one of the world-famous artists, British graffiti artist Banksy is one of the important artists who mentions the problems experienced today in his art. His work is always concerned with sending a message and their work is also conscious, intellectually accumulated, ideologically strong. 240 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Banksy, who produces works in the public mostly with the concern of drawing attention to the existing problems and producing solutions with several creations related to the period we are in as world states, has many works on these issues. ―Anti-Immigration Birds‖ and ―Girl with Balloon‖ are just a few of them. Image 1. Migrants on board a rubber dinghy reach out to crew members of the Open Arms, February 12, 2021 | Photo: picture alliance / dpa / AP | Bruno Thevenin, https://www.infomigrants.net/en/post/30264/mediterrane an-146-migrants-rescued-one-shipwreck-at-weekend (13.04.2021)3 Image 2. Banksy, Anti-Immigration Birds, 2014. Source: https://www.diken.com.tr/efsanevi-sokak-sanatcisibanksynin-son-calismasi-irkcilik-suclamasiyla-duvardan-kazindi/ In this mural of Banksy, a more exotic-looking bird stands before a group of pigeons with antiimmigration banners. One of the signs says, "Go back to Africa.‖ In addition to such works of the artist bearing political messages, he also has important works that are ―good for the mood‖ of refugees [6]. ―Girl with Balloon‖ is the best example of this. He painted this work, which later became an artistic icon, on the edge of a bridge at the South Bank in London in 2002. The red balloon symbol in this work, which represents innocence, hope, and love, expresses much more than a child's toy. Despite the feeling of desperation and hopelessness given by the flying balloon, the slogan "There is always hope" written on the wall is an important work that emphasizes that there is always hope for desperate people despite everything [6]. 241 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Image 3. Banksy, Girl with Balloon, 2002, London. Source: http://www.blogs.buprojects.uk/20152016/rachelrichardson/wp-content/uploads/sites/83/2016/01/Screen-Shot-2016-01-08-at-09.17.13.png As is known, women and children constitute the most vulnerable mass of all wars throughout history. The mental and physical traumas that are difficult to overcome leave permanent damage to the lives of these vulnerable children. For these children, who grow up without even knowing that there are happy, livable lives far from these hopeless lives they fall into, life is nothing more than an uncertain concept. As Leon and Rebecca Grinberg said for these war-torn children, who have no choice in life (1989); "Parents can be immigrants voluntarily or involuntarily, but children have always been ―exiled‖. They are not the ones who decide to leave and they cannot decide to return at any time… "[7]. Image 4. Saime Uyar, Malatya Refugee Camp, 2019, Photo The refugee problem, which emerged with the beginning of the Syrian civil war, has become the problem of almost the whole world. However, our country has been most affected by this problem. We continue to live together with Syrian refugees and they have almost become a part of our lives. Saime teacher, who was appointed as a teacher at the school in the Refugee Camp in Malatya in 2019, closely witnessed the refugee lives. ―It's hard to live in the same environment as these people and not be impressed by their stories at the same time. We do not know how many traumas are behind the concept of "refugee" that we see in the media every day. However, when communicating directly with these people, one can look much different from the person on 242 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 that screen. The traumas they experienced during and after the war are painful facts that may haunt them for the rest of their lives. With your humane emotions, you have a sense of being a part of these people's troubles. Of course, as a Visual Arts Teacher, I have decided to present all the gains I have gained on the positive impact of art on human life to these people. Image 5. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (Acrylic on the wall, 3 m x 7m 2,4 m). Image 6. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (Acrylic on the wall, 3 m x 7m 2,4 m). I started performing some artistic activities that improved the lives of these vulnerable and displaced people. With my artistic project titled "We Color Grey Lives‖, I tried to touch the war-scared lives of Syrian refugee children and contribute to their souls and bring them back to life. First of all, I started to color their cold environments. You know, what appeals to the eye also touches the heart. Art always has such richness. "(Saime Uyar). ―By including children in the project, we started to create colorful worlds in their spaces. An environment was created in which they could express their feelings and thoughts freely. With the artistic works they created, there was a revival and excitement in their self-confidence." (Saime Uyar). 243 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 As emphasized in Duchamp's conference entitled "The Creative Act‖ in 1957, where Duchamp argued that ―the work of art is not performed solely by the artist" and that the viewer's perspective influences the vital ―substantive change‖ of the immutable substance at the core of art, it is possible to say the same thing for these artistic productions carried out here [3]. Image 7. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (Acrylic on the wall, 2,7 m x 14,50 m). Image 8. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (Acrylic on the wall, 2,7 m x 14,50 m). The influence of all experiences and emotions on the streets of the camp was transformed into art in a free language. ―The children of war, who live in all the cruelty of war in their bodies and souls, experience both sadness and joy limited. They carry all the horror of war in their tiny hearts, but they respond with all their hearts to a little love and attention. Even when they paint the tragedy in their inner world, their laughing eyes challenge life. "(Saime Uyar). Among Syrians in Turkey, the rate of those who lost any relatives due to the civil war in their country is 95.1%, which is a very high rate. In the AFAD report, this rate was investigated more specific and according to the data obtained, the rate of those who lost a family member was determined to be approximately 34% and the rate of those who stated that one of the family members was injured was 32% [5]. 244 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 ―In his dreams, hopeful feelings such as protecting his country from bombers and uniting his family, some of whom were in Syria, with his family in Turkey, turned into works of art on the walls of the camp.‖ (Images 11, 12) (Saime Uyar). The war destroyed the family integrity of these people. And the families of the survivors have fallen apart. This is tragically seen in this picture, which is painted by the Syrian refugee child (Image 11). Image 9. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (1000 cm x 270 cm). Image 10. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (1000 cm x 270 cm). ―Hibe is just one of the children whose parents fell apart after the war. Hibe, whose grandfather, grandmother, and aunt are in Syria, expressed their longing for them in this picture. She stated that her only dream was to see the day at which his whole family would be together." (Saime Uyar). The grief caused by such losses is much more painful for adults. Unfortunately, unlike children, they live in a reality far from their dreams of seeing the colors of life. Hron expresses this situation as follows: ―Losing home involves many losses such as food, local music, social traditions, native language, and loved ones. Immigrants mourn all these lost concepts and are devastated by this appearance filled with losses related to them. Grief and sadness about losses bring about an effort to exist [9]. 245 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Image 11. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (1000 cm x 270 cm) Image 12. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (1000 cm x 270 cm) ―In the process of treating the damaged moods of children exposed to violent environments of war, the contribution of art to this process has a very important effect in addition to many clinical, social, and economic support. Art, which is a natural communication language for children, plays an important role in the interpretation of their inner world. Art, which is especially important for war-affected children, is vital in meeting their emotional needs. Through this artistic project, it has been provided an opportunity to develop positive feelings towards a life with a positive organization in mutual cooperation with refugee children. Positive gains have also been achieved such as the acquisition of basic skills and the development of creativity in children. In an atmosphere of trust, respect, love, and peace, it was created an environment where they could express their feelings and thoughts freely. With artistic visual works shaped by the children's inner world on the walls of the camp, the camp area turned into a warm and colorful area. For these children, who are deprived of many social activities, this activity has been very effective both mentally and physically." [6]. 246 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Image 13. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey). (Acrylic on the wall, 3 m x 7m 2,4 m). Image 14. Saime Uyar, 2019. (Malatya Refugee Camp, Turkey), Photo Reading the healing power of art from the faces of children who are victims of war demonstrates the necessity of the action taken. The United Nations High Commissioner for Refugees Policy Development and Evaluation Service (PDES) has reached serious data on many cases, ranging from family adversities to traumas in war environments. Studies have been conducted on the effects of several art therapies and artistic activities for the treatment of patients exposed to these traumas. According to the data obtained, it was emphasized that the healing properties of art are well known on the anecdotal basis. PDES points out that art is of vital importance for the repair of these people's fragmented lives and puts emphasis on the effectiveness of artistic activities carried out especially in refugee camps where the victims of war are the majority [1]. Of course, it is not possible to say that art completely eliminates the destruction caused by the war on children, but we can say that it has a significant impact on touching the lives of refugee children, contributing to repairing their fragmented lives, coping with complex emotions such as marginality and belonging, and bringing them back to life and society. With these artistic works, we have once again witnessed the healing power of the art that enlivens in the lives of all children, regardless of language, religion, and color, especially on children who are victims of war. 247 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Resources [1]Andemicael, Awet. (2011). Positive energy: A review of the role of artistic activities in refugee camps. United Nations High Commissioner for Refugees Policy Development and Evaluation Service Report. [2]Anonymous (2014). Efsanevi sokak sanatçısı Banksy‘nin son çalışması ‗ırkçılık‘ suçlamasıyla duvardan kazındı. Diken. Accessed: 19.04.2021. https://www.diken.com.tr/efsanevi-sokak-sanatcisi-banksyninson-calismasi-irkcilik-suclamasiyla-duvardan-kazindi/ [3]Hopkins, D. (2018). Modern Sanattan Sonra 1945-2017. (Translated: F. C. Erdoğan). İstanbul: Hayalperest Yayınevi [4]http://www.blogs.buprojects.uk/2015-2016/rachelrichardson/wpcontent/uploads/sites/83/2016/01/Screen-Shot-2016-01-08-at-09.17.13.png Accessed: 18.04.2021 [5]Koyuncu, A. (2015). Kentin Yeni Misafirleri Suriyeliler. Konya: Çizgi Kitabevi [6]Uyar, S. (2021). Mülteci Sorunlarının Sanatsal Anlatımı (Yayımlanmamış doktora tezi). Hacettepe Üniversitesi, Ankara. [7]Volkan, V. D. (1997). Göçmenler ve Mülteciler. Ankara: Pusula Yayınevi [8]Wallis, E. (2021). Mediterranean: 146 migrants rescued, one shipwreck at weekend . InfoMigrants. Accessed: 13.04.2021 https://www.infomigrants.net/en/post/30264/mediterranean-146-migrants-rescued-oneshipwreck-at-weekend [9]Yürüten, Şevval. (2019). 58. Venedik Bienali Hakkında Bilmeniz Gerekenler. Vogue. Accessed: 21.05.2020. https://vogue.com.tr/metropol/58-venedik-bienali-hakkinda-bilmeniz-gerekenler 248 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 A Healer in Contemporary Art "Kreupelhout Cripplewood" Rıfat Batur ORCID ID: 0000-0002-6208-5375, rftbatur@gmail.com Abstract Berlinde de Bruyckere calls her installation "Kreupelhout-Cripplewood", which means bush, for the 55th Venice Biennale. The artist makes her arrangement using wax, epoxy, metal, plaster, paint, pieces of cloth, pillows, rope, and metal rings, with molds taken from the trunk of a large elm and tree branches. Exhibited in a dim environment under natural light coming from above in the Belgian pavilion in the biennial, the traces of the Flemish painting tradition and Christian mythology, as in the other works of the artist; It is seen in organic bodies shaped by emotions such as desire and pain. "Kreupelhout-Cripplewood" is made to represent Saint Sebastian, who has an important place in the Christian world and has been portrayed thousands of times over the centuries. What makes Saint so important is his belief in protecting people against infectious diseases such as the plague. For this reason, the painting of the Saint is not only a visual image, but also a healing quality. With this understanding, the research focuses on the resurfacing of St. Sebastian in the sculpture "KreupelhoutCripplewood" by artist Berlinde de Bruyckere. The metamorphosis of Bruyckere's transformation into a tree trunk of Saint Sebastian was tried to be clarified by research and studies on the writings, letters and interviews of the artist. In line with the data obtained from the researches, the objects using "Kreupelhout-Cripplewood" as a statue seeking a solution to the relationship between nature and human being of contemporary society have been studied in the footsteps of research on the artist and religious mythologies. Keywords: Installation, Healing, Art, Mythology, Sculpture. Berlinde de Bruyckere gives the name "Kreupelhout-Cripplewood", which means crippled tree in English and Dutch, for her sculpture, which she created using wax, epoxy, metal, plaster, paint and fabric pieces with molds taken from the trunk and branches of a dried and toppled elm on display at the 55th Venice Biennale Belgium Pavilion. The artist refers to the body of Saint Sebastian in her installation. Sebastian has an important place in Christian mythology with his identity known as a saint healer. Saint Sebastian, who was painted thousands of times by painters for centuries, was expected to help from his healing power against the plague. The artist Berlinde de Bruyckere, who focuses on Christian mythology in her works, In her installation named "Kreupelhout-Cripplewood", she presents to audience the body of the healer St. Sebastian as a tree trunk made of wax. "Kreupelhout-Cripplewood" comes face to face with the audience like a prehistoric creature embodied between man, nature and mythologies. Berlinde de Bruyckere and Kreupelhout-Cripplewood Berlinde De Bruyckere was born in 1964 in Ghent and continues her work in her workshop in this city. Influenced by Christian iconology, the artist is often seen using materials such as animal skins, old pillows, ropes, hooks, blankets, and wax in his work. The artist, who uses old blankets as a symbol of life, thinks that it carries traces of life like layers of our memory. She establishes a similar conceptual relationship in her stacked arrangements of animal skins. (Bruyckere, 2018). The forms in Bruyckere's sculptures bear the traces of her childhood. Since her father was a butcher in Ghent, the artist's childhood images were naturally nourished by objects we see in her works such as meat, blood, skin, and bones. Perhaps that is why we see horses instead of humans in her work, arising from her research on World War I. Because she focused on the horse corpses in the war paintings, the artist was impressed by their abandonment and the fact that their corpses just remained a pile on the streets. Berlinde de Bruyckere's 626 x 1002 x 1686 cm statue consists of mostly molded tree trunks and branches cast from various materials such as beeswax. The artist states that the elm trunk she encountered in a field in 249 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 France two years before the Biennial was carried to her workshop thanks to the biennial. The artist created a strong support structure with iron and epoxy in the interior of the sculpture after taking silicone molds in order to reduce fragility. The branches in the other parts of the statue are made up of trees that are subjected to natural decay, such as insects and maggots collected in Ghent. Old blankets, pillows, belts, pieces of fabric, rusty metal hooks catch our eye from place to place on the sculpture mass. Metal feet were used to raise branches from the ground in some places. Plaster and paint create effects that give the impression of living texture on the branches. Torn pieces of fabric and threads were used to bring the thin branches together, in some places old white fabrics were randomly wrapped, clumps were formed, and we see fabric images pierced by the branches as well as the mass formation of pillows. In the biennial, the sculptural mass is exhibited in a dim environment with the natural light of the Belgian pavilion filtering from above. The viewer firstly confronts the massive form of the tree's trunk with its powerful effect, and then encounters the horizontal form that breaks this volumetric effect and the branches extending into the ground like an uneven pile. Although the branches and trunk seem to have collapsed to the ground, the curved structure of the main trunk and the shadows falling on the ground make an upward movement feel. Thus, the sculpture mass breaks off its relation with the ground and gains mobility. This movement seems unfinished, neither a freeze nor an agglomeration. It gives the audience a sense of movement between both. Pillows, fabrics, and ropes tie together branches that give the impression of a pile, creating a rhythm above the form, so the viewer style follows these rhythmic elements one after the other. Texture is dominant on the surface of the statue. The beeswax that forms the bark and the real tree fragments that stick to it in some places, the natural decay of the branches, the marks left by the insects under the bark, cracks and the red spots that the artist uses with the wax are dominant on the surface. Old fabric pieces, worn-out perforated fabric and pillows, tears, stitches and threads in places, metal hooks strengthen the textural feature of the sculpture. The low-light space feeling of the space creates a contrast effect to the linear and complex effect of the branches and strengthens the atmosphere that the sculpture wants to create. Fractures of the wood, cracks, shells, stripped bare branches and the texture of old fabrics completely dominate the surface of the work with an almost monocramatic effect, except for some red fabrics. Except for the human intervention cuts on the main body, all the forms on the surface of the form consist of naturally formed shapes. Berlin Bruyckere's statue at first glance reminiscent of a creature writhing in pain from prehistoric times (Figure 1). Figure 1. Berlinde De Bruyckere Kreupelhout - Cripplewood 2012 - 2013 wax, epoxy, iron, textile, rope, paint, gypsum, roofing 626 (h) x 1002 x 1686 cm. https://www.designboom.com/art/berlinde-de-bruyckerecripplewood-at-venice-art-biennale/ Berlinde De Bruyckere chooses John Maxwell Coetzee, who received the Nobel Prize for Literature in 2003, as his curator for his work at the Venice Biennale. His expectation from the artist Coetzee is not an artistcurator relationship in the usual sense. Letters between them shed light on this issue. Bruyckere does not ask the author to assist him or support her in the decision-making process. She asks him to share the process with a text, story, or essay that will inspire him in her work. However, there is no need to have any parallelism with the work of this text itself. Therefore, it expresses a spiritual support, it will be read, digested and set aside, but the rest will energize it in the creation process (Coetzee, Bruyckere, Parret, 2013, s.24) Coetzee shares his story ―Old Women and Cats‖ upon this communication. The dialogues in the artistic productions of the duo tend to support the spiritual atmosphere that carries them to those processes rather than the creative processes. Therefore, we 250 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 neither find traces of this story in Bruyckere's works, nor do we find the pains of Saint Sebastian in Coetzee's story. Figure 2. El Greco. 1577-1578. 152cm x 191cm. http://www.el-greco.org/san-sebastian/ Bruyckere's Kreupelhout-Cripplewood statue expresses Saint Sebastian, who has a very important place in the history of Venice and was painted by painters for centuries. Saint Sebastian is considered a symbol of Venice, and the belief that he protects the public from the plague is widespread. Therefore, it is known that Giovanni Bellini painted many Saint Sebastian paintings during his lifetime (Bruyckere, 2020). It is believed that Saint Sebastian was born in Gaul and joined the army of Emperor Carinus in Rome. During this time, he served the spread of Christianity and made many soldiers Christian. For this reason, Saint Sebastian was sentenced to death and tied to a tree and his body shot with arrows. However, the Saint does not die and is rescued by a woman or an angel.He was then heavily beaten to death with sticks by the Roman Commander Diocletian and thrown into a sewer pit. It is believed that Saint Sebastian is the protector of archers, athletes and plague. Therefore, he was painted by thousands of painters such as Gian Lorenzo Bernini, Sandro Botticelli, Andrea Mantegna, Perugino and El Greco. In these pictures, Saint Sebastian is seen in a young and athletic body with arrows stuck in his body (Britannica). The painless expression on the saint's face made him the representative of a strong and healthy body. At the same time, this state of well-being also has a sacred meaning against epidemics. That is why Saint Sebastian was believed to be protective against the Black plague. The bubonic plague was thought to be due to the god's arrows, Saint Sebastian was shot with arrows and did not die, so he must have a protective force against the plague. The painting of the Martyrdom of Saint Sebastian, made by Antonio Pollaiuolo in 1475, is ordered by the Pucci family for the Temple of Saint Sebastian in relation to the plague epidemic in 1466 (Labno, 2012, p.51). We remember El Greco's painting of St. Sebastian in Bruyckere's sculpture "Kreupelhout-Cripplewood." In Greco's painting of the Saint in accordance with human measurements, there is a young, athletic person, and there is no data on the saint's suffering, neither in his face nor in his body (Figure 2). He turned his face to the sky and asks for God's help. The cloth and ordinary tied strings that cover his body have a weak effect on his bodily strength. 251 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Similar effects of light, texture and movement are observed in the arrangement of Bruyckere, which is composed of tree blocks. The large tree trunk used by the artist represents St. Sebastian. The artist wants us to look at the tree like a wounded human body that needs to be taken care of (Bruykere, 2013). So in the artist's sculpture there is a partnership between the tree trunk and the human body, which harbors not only endurance, strength, but also weakness, which includes vulnerability from another pain. Bruyckere is based on a situation peculiar to all living things in nature, to be resilient to survive and to need each other for the moment of vulnerability. The artist cares that the tree she uses for the main trunk is without limbs, once cleared of branches and injured like Saint Sebastian. Similar compositions are valid in the body of Christ in Christian mythology. His body is also shown wounded and naked, lying in ecstasy when he is brought down from the cross. In Bruyckere's composition, the body of the Saint is also a pieta, just like Jesus lying on the arms of the Virgin Mary, he lies on the pillows. Gombrich, while describing Annibale Carracci's painting of Mary Mourning Laya, he emphasizes how Jesus was removed from the feelings of death and pain. Although the basis of religious mythologies suggests suffering and purification, painters did not prefer to project it into their paintings. The sanctity of the body requires a distance from human suffering, so even though arrows were stuck in St. Sebastian's body, there is no trace of human pain on his face. In Bruyckere's tree, the Saint body he transformed, the presence of pleasure rather than pain is felt. The artist likens the elm trunk with its branches torn off to a large phallus, so the voluntary discharge and fall of the body expresses the curled mass of the statue on the pillows. Saint Sebastian, too, holds his body upright with a cold expression, as if taking pleasure from arrow wounds that are not bleeding. Deprivation of pain is described with a tree body in "KreupelhoutCripplewood." The transformation of the saint into a tree is a metamorphosis. This situation is reminiscent of Daphne's metamorphosis as told by the Roman poet Publius Ovidius Naso. Turned into leaves, his arms into branches. His nimble feet are roots in the ground. " (Ovidius, 1994, p. 36-37) Nymph Daphne does not want to marry anyone, she decides to remain a virgin forever, but Eros shoots Apollo with an arrow and makes Daphne fall in love with Daphne. He wants to get Daphne out of his love for Apollo, but Daphne begs his father to save him, Peneus turns his daughter into a laurel tree. The wounded state of the tree, the broken branches, the bare body that has fallen out, transforms a religious and mythological myth into an object with natural light coming from above. Conclusion Apart from all these religious and mythological symbols, "Kreupelhout-Cripplewood" is an integrated living form of today. All the creatures of nature have been visible in it. The wounded branches, clinging to one another with cloth and ropes, remind of Kafka's novel hero Gregor Samsa. Either he's human, he's turned into an insect, or he's an insect, he's turned into a human. When looking at the crippled twigs, one does not wonder what will happen, because its shape is so desperate that its shapeless insect-like legs are accepted by the blankets, pillows and pieces of cloth that look friendly and familiar to the watcher. The large body of the Elm contrasts with the branches. Standing strong and firm like a bull, it suddenly turns into an image of a human body suffering or writhing in desire. So Bruyckere doesn't use the tree itself, she reconstructs it to make it human, because it can only represent living creatures on earth as a holistic life form. Artist shows a naked body where the bark on the tree trunk has been stripped. Even though it is a tree that the audience encounters, it cannot help but avoid the thought that it is a skin. At the same time, the tree represents life not only with its trunk, but also with maggots, insects, rodents, birds that leave marks on it, and everything from bacteria to fungi that rot it. All the creatures of nature who come together as Saint Sebastian join forces in "Kreupelhout-Cripplewood‖, just like the Saint's protective power against infectious diseases, and it means all they have, we must be together to live. References Britannica. Saint Sebastian. Erişim: 07.04.2021. https://www.britannica.com/biography/Saint-Sebastian. Bruykere, Berlin de. (2013). Erişim: 08. 04.2021. https://www.artnews.com/art-inamerica/interviews/correspondences-an-interview-with-berlinde-de-bruyckere-56331/ Coetzee, JM., Bruyckere, B., Parret, H. (2013). Cripplewood Berlinde !De Bruyckere & J.M.!Coetzee Kreupelhout. New Haven and London: Yale University Press Bruykere, Berlin de. (2018) https://www.apollo-magazine.com/bleak-beauty-berlinde-de-bruyckereinterview/ 252 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Bruyckere, Berlin de. (2020). Erişim: 06.04.2021. https://www.hauserwirth.com/ursula/28435-belgiumberlinde-de-bruyckere Labno, Joan. (2012). Renaissance, Art in Detail. (Dastarlı, E. Trans.). Istanbul: İş Bank Cultural Publications. Ovidius, Publius Naso. (1994). Transformations. Eyüpoğlu, İ. Z. (trans.). Istanbul: Payel Publications 253 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Motif Samples from Late-Ottoman Period Art of Embroidery Ayça Özer Demirli PhD, Curator, TBMM The Grand National Assembly of Turkey, moonozer@hotmail.com Abstract Art of embroidery, which is one of the most ancient forms of art, has appeared in mythologies and legends, and sustained its existence in the lands of Anatolia for centuries. It is known that embroidery has extensively been used in Turkic states beginning from Central- Asia. Political developments in 19th century influenced Ottoman life-style in various aspects; thus, many types of embroidered clothes that are used with both irreplaceable objects in regards with traditional tastes, and with furniture which lately appeared in Ottoman living, made new contributions to the art of embroidery. Embroidery, which is a part of both palace and public livings, has appeared in all kinds of special events such as marriage, circumcision, birth and death; as well as taking part in daily lives. Not only the market craftsmen who produced embroidery, but also young girls who embroider as parts of their daily lives and expressed their emotional worlds through embroidery, made contributions to this form of art. In late- Ottoman period crafts with embroidery, motifs sometimes have been stylised and depictured in a naturalistic manner. Compositions made up of flower motifs in vases or baskets, bouquets composed of roses and trumpet flowers, bowties, vine leaves and grape bunches are predominantly observed. It also exists in architectural figurations with realistic painting-like imageries and on their signature bands. Motifs of embroidery crafts present us in a sense, the artistic and aesthetic world of the period. Keywords: Art of embroidery, motif, motif samples, motif compositions, late Ottoman period art of embroidery, aesthetic Introduction Art of Embroidery, which is one of the oldest art forms, has emerged from humankind‘s need to decorate and adorn the items they use and wear. Embroidery has appeared in myths, and persevered its existence on the lands of Anatolia for centuries. It is also known that embroidery has been used in Turkic states commonly, dating back to Central Asia. It has been confirmed that Huns decorated all their items with the technique of appliqué. It is known that the Uyghur have decorated their clothing with rich samples of embroidery. Ottoman Beys and Sultans have used clothing enriched with embroidery, in order to distinguish themselves from public and to demonstrate their power to the society they governed. Besides the ones in the palace, workshops have been established in the state-inspected bazaar, which received orders from the palace as well. We learn from Evliya Çelebi the existence of 60 workshops embroidering ―yağlık‖s (a large handkerchief) and ―makrama‖s (a kind of towel made of cotton), that are under the category of light duty, in marketplaces of Istanbul in the 17th century. The street names in Grand Bazaar such as kalpak makers, fez makers, yağlık makers, duvet makers, fur makers, thread makers tend to prove this. Embroidery is formed by adorning fabric or leather stretched over gadgets named as ―kasnak‖(embroidery tambour) or ―gergef‖ (embroidery frame) with various kinds of threads. Usage of embroidery has helped emergence of business lines covering several aspects from contexture of the fabric to tracery of patterns on fabric and process of embroidery itself. Embroidery, which is a part of both palace and public livings, has appeared in all kinds of special events such as marriage, circumcision, birth and death; as well as taking part in daily lives. Besides the works of the craftsmen of marketplaces, young girls who practice embroidery as parts of their daily lives made contributions to the improvement of this art form, and expressed their emotional worlds by means of embroidery. It is one of 254 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 our important customs that a bride should display her trousseau. Thus, she has a chance to demonstrate her mastery and skills, by demonstrating the embroidery she has done herself. P.1 ―The Grand Bazaar”, Amedeo Preziosi, (2021, 31 March) Access Address: https://artsandculture.google.com/culturalinstitute/beta/asset/the-grand-bazaar-amedeopreziosi/ZQHvY6KtDCrzFQ P.2 ―Women Embroidering on Tambour‖, The Vanmour School , Pera Museum, (2021, 2 April) Access Address:https://tr.wikipedia.org/wiki/Dosya:The_Vanmour_School__Women_Embroidering__Google_Art_Project.jpg Official ceremonies and exchanging presents has had a great influence on the adoption of embroidery tradition of the palace by public. Sewing and embroidering has been accepted in the Harem as a kind of entertainment and a nice pastime activity; so, when recruiting ―cariye‖s for harem, it has been paid great attention not only to their general talents but also to their special skills in embroidery. Palace embroidery can be distinguished from marketplace and public embroidery by the quality of fabric and materials used, the embroidery technique and craftsmanship. The palace was in a sense home base of embroidery, and innovations which were made in the palace reflected on the marketplace and the public. 23 (Özer Demirli, 2016: 77) Dr. Ayça Özer Demirli, Sultan II. Abdülhamid Han Döneminden İzler, ―Sultan II.Abdülhamid Dönemi Dokuma ve İşleme Sanatı Örnekleri‖, İstanbul 2016, s.77. 23 255 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 P.3.―The Bride‖, İstanbul Naval Museum, Mid 17.th century, Inv.No. 2380 p.112 P.4 ―Courtier Lady‖, Pierre Desire Guillemet, Inv.No. 13/570, 1875, MS Collection Political developments in 19th century has affected Ottoman lifestyle in many aspects and various embroidery pieces that were used both with indispensable items due to traditional taste and with furniture that took their place lately in Ottoman daily life made new contributions to the art of embroidery. The reason behind the diversity of material and areas of use is the changes in traditions, clothing and furniture which stepped into Ottoman life with the influence of westernisation. 256 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 P.5 ―Yıldız Palace, Ceremonial Court‖, İstanbul University, Head Office of Library and Documentation, (2021, 15 February) Access Address: http://nek.istanbul.edu.tr:4444/ekos/FOTOGRAF/90552---0052.jpg P.6 ―Fehime Sultan, Daughter of Sultan Murat 5th‖ Until 19th century, embroidery was thought through master-apprentice relationship in the traditional education system. Later, education of girls has become more important and many schools for girls were 257 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 established; thus, being vocational schools for girls in the first place, embroidery took its place as a lesson subject in the curriculum. The most common types of embroidery work in this period are ―dival‖, chain and satin. Techniques which are suitable to reflect nature in a realistic way such as French knot and Chinese stitch are also used. Satin, ―dival‖, bead and sequin works came together as well. Embroidery, which takes part in almost every field of daily lives, appears in emblems, embroidered inscriptions and even pictures. P.7 ―Engraved Picture‖, Inv. No. 12/2780, MS Collection Inv. No. 12/2780, MS Collection, Milli Saraylar Sanat, Tarih, Mimarlık Dergisi, no.15-2016 p.100 Forms and Meanings of Motifs Humans decorate themselves, the items they use and their surroundings because of their nature. The charm of decoration relates with people‘s beliefs, lifestyle, manners and customs, and the society they live in. Nature, plant forms and flowers in particular are handled with the understanding of art of the society; and, a kind of communication is established. Motifs have their own symbolic language and undermeanings. Motifs in art of embroidery act like pillars that form the artwork. It is observed in 19 th century-embroidery that motifs of the past have been approached with a new perspective, which is congenial to the Westernization Era. It is possible to see the examples of a bunch of flowers tied with ribbons being stylised and converted into a horn of plenty, or to a whirling rosette. Common motifs to be observed in embroidery are plant ornaments; flowers in baskets, bowties and flower bouquets in compositions arranged in the style called Turkish Rococo. In addition, patterns of sunburst, star and crescent, whirling rosette, vine leaf and grape bunch are commonly used. Furthermore, motifs in the forms of pond, ship, house, mosque, shrine and garden have appeared in embroidery. Human portraits with figure ornaments have also been included. Landscape ornaments with plants and articles are also seen on the embroidery pieces. Under the influence of painting as an art, it is also possible to come across with human figures which have been depicted like paintings, in embroidery pieces of the late period. In this period, colour tones such as maroon, purple, duck head green, light green, bitter yellow, mustard yellow and apricot stand out. Along with multi-coloured ones, single-coloured embroideries with gold and silver threads also exist. Embroideries with different tones of the same colour demonstrate transfers where the needle functions as a painting brush. 24 Among the most beautiful examples of object embroidery are the embroidered pictures. Painting techniques such as colour tints and chiaroscuro were used and realistic works have been created. In those pieces, 24 Ayça Özer Demirli, Sandıklarda Saklı Saray Yaşamı, İstanbul, 2007, s.15. 258 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 extremely realistic depictions and elaborative architectural details stand out. Another interesting aspect of embroidered pictures is that the name/s of the maker/s appear on those pieces in the form of embroidered signature bands. 25 Motif Examples Sun and Sunburst Motif Sun, which is considered as a source of life, has been used in embroidery since very early periods. Motifs of sun and sunburst symbolize mind‘s access to knowledge and wisdom. Motifs of sun and sunburst, which assumably carry mankind to light from darkness, symbolize power and state. Those motifs which have been used on Ottoman state emblem can also be observed on embroideries of the period. P.8 ―Motifs of sun and sunburst‖, Inv. No. 39/517, MS Collection, Sandıklarda Saklı Saray Yaşamı, p.179 Tree of Life Motif Tree is sanctified in relation with rejuvenation of nature and because of its role in the life cycle. This has made tree of life a motif which has been used by all civilizations. Tree, by coming into leaf in spring and losing its leaves in fall, represents life, death and rebirth. Tree of life, which represents sanctity, has been used in many areas as well as embroidery works. Tree of life motif, which represents fruitfulness and sanctity, appears together with double-headed eagle or Seljuk eagle at times.26 Tree of life motif is also a mythological element of Central Asiatic Turkish culture; and, it was believed that the branches extending up in the air would help the spirit of the deceased reach up at the sky. Tree of life, in a sense, connects under-ground, above-ground and sky with each other. Tree of life, which appears in various areas of decorative arts, also appears in late-period embroidery works. Bridegroom‘s Shaving Cape Set – 19th century tambour-work cape has a motif of tree of life in the center. Motif has been decorated with Tukish Rococo style bouquets. Ayça Özer Demirli, Milli Saraylar Sanat-Tarih-Mimarlık Dergisi, ―Sultan II.Abdülhamid Han Dönemine İşleme Tablolar Üzerinden Bir Bakış‖, sayı. 15, İstanbul 2016, s.99. 26 Fatma Direkli, XII. International Turkıc Art, History and Folklore Congress, 2019 Konya Turkey, /Art Activities, Life Tree and Double Headed ―Seljuk Eagle‖ abstract in Turkish Motıfs, p.485-486. 25 259 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 P.9 ―Tree of life motif‖, Textile Museum Collection Washington, Apron and towel from a barber‘s set, 19. th Century, Sumru Belger Krody, Textile Museum,Flowers of Silk & Gold, Washington 2000, p.145. Whirling Rosette Motif It symbolizes the universal motif in which life repeats itself like a spinning wheel. It is considered as a miniaturized copy of the universe. Whirling rosette motif which is usually depicted as a rotating flower image has been widely used in embroideries, carpets and textile products. Spinning wheels in the form of flowers can be seen in the embroidery works of this period as well. P.10 ―Motif of whirling rosettes‖, Topkapı Palace Collection, 18 th century, Topkapı Palace Collection, Topkapı Textiles, photo 104. 260 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Composition and Formalization of Motifs Motifs in the late-period Ottoman embroidery works have sometimes been depicted by stylization, and sometimes in an extremely naturalistic way. Flower motifs in baskets or vases, bouquets composed of roses and trumpet flowers, bow-ties, compositions made of vine leaves and grape bunches are mainly observed. Adding to these, architectural figurations with realistic painting-like imageries and on their signature bands also take place in embroidery works. 27 Motifs in embroidery have been structured in various shapes. They are generally in order and harmony. Motifs which have been embroidered in indistinct geometrical patterns are seen in a balanced motion. In vertically, horizontally or diagonally positioned motifs, an order has been created with either big or small proportional variations. Motifs have also been composed in a way to give sense of momentary motion. Motifs in embroidery have sometimes been located on the sides as edgings, sometimes on ends in groups, and sometimes scattered on the whole surface in groups. Spaces among the motifs also create a pattern within themselves. There is a well-balanced combination among the colours used in embroideries. A very significant effect has been created by using warm and cold colours together. By using colours which are separate from main colours, an unnatural expression has been ensured; and, a blazing effect has been created by embroidering the series of motifs in different colour groups. Picturesque toning had to wait until the 19 th century. In an overall evaluation, it is possible to state that motifs are used in balance and symmetry. Conclusion Embroidery in Ottoman era has traditionally found a wide area of use in every level from life in the palace to daily lives of people from all classes. As a result of westernization movement in the 19 th century, new articles and furniture that entered the Ottoman lifestyle has in a sense expanded the area of use of embroidery. Generally speaking, the effect of westernization is visible in the motifs and embroidery works of the 19 th century. In the late period embroidery, it is observed that the motifs of the past have been handled in a new perspective that is congenial to the taste of westernization movement. When motifs like sun and sunburst, tree of life and whirling rosette are examined, it is seen that they are transmitted in a new way of expression. In some respect, motifs of embroidered pieces introduce us the artistic and aesthetic worlds of the era. It is possible to state that the art and the artist themselves have interpreted the artistic trends of the period in embroidery by getting together with the new material and forms which entered the literature at that time. References Alantar Hüseyin, Motiflerin Dili, İstanbul 2007. Barışta, H.Örçün, Osmanlı İmparatorluk Dönemi Türk İşlemelerinden Örnekler, Ankara 1981. Bilgi Hülya, Zanbak İdail, Sadberk Hanım Koleksiyonundan Osmanlı İşlemeleri El Emeği Göz Nuru, İstanbul 2012. Krody Sumru Belger, Flowers of Silk & Gold, Washington 2000. Özer Demirli, Ayça, Sandıklarda Saklı Saray Yaşamı, İstanbul 2007. Özer Demirli Ayça, ―Milli Saraylar Tekstil Koleksiyonundaki İşlemeli Eserlerin Değerlendirilmesi‖, İstanbul Teknik Üniversitesi, Sanat Tarihi Doktora Tezi, 2011. Sürür Ayten, Türk İşleme Sanatı, Akbank Yayınları, İstanbul 1976. Ayça Özer Demirli, Saray Koleksiyonları Müzesi Son Dönem Osmanlı Sarayında Gündelik Hayatın İzleri, ―Saraylarımızda İşlemeli Eserler‖, İstanbul 2011, s.115. 27 261 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Women in Alternative Pop: Turkey Example Mümtaz Hakan Sakar Dokuz Eylul University, Buca Faculty of Education, Department of Music Education, sakarmumtazhakan@gmail.com Abstract The categorization of popular music has always led to some confusion. The main reason for this is the differences in the contextualization and the conception of the problem. The main issue is the abundance of parameters. This study firstly aims to define ―alternative pop‖ which seeks to separate itself from the subgenre of ―mainstream pop.‖ Subsequently, it examines the subject within the framework of gender by focusing on the female musicians who work in this field. When regarded through the lens of ―Cultural Studies‖ popular music is a ground of conflict within the cultural sphere. Therefore it attempts to explain how women are represented in popular music – and more specifically alternative pop music, which is an important space for the struggles of women against gender norms and patriarchal establishment that encloses and subordinates women. Keywords: Popular music, alternative pop, gender, women and music. Both the literature for gender studies and observations of daily life show us the reality that women are enclosed, subordinated, and are detained from social spaces and trapped into private ones (the house). Until the proletarian family emerged from the industrial revolution, it was unacceptable for a woman to work in a payed job outside of the house. It was even disgraceful for a man. However, in the proletarian family model, women began to work in half-paid jobs, and things began to change. Child rearing and housework largely remained in the female domain. Yet men began handing over household economics to their wives. This change which occurred during the industrial revolution in Europe, began in Turkey when the republic was formed and certain scientific revolutions occurred. In today‘s Turkey, caring for, educating and raising children, as well as ―culturing‖ – the teaching of traditional practices and customs – are mainly women‘s responsibility. Under gender roles, this is accepted as ―natural.‖ Yet, we also see that women, who have access to education, and thus have the opportunity to find employment and have financial control over their lives can become exempt from the restrictions in social spaces, and mostly freed from being confined within the house. While women who have high education are now found in important positions within the workplace, the number of men in such positions is still higher; and the ―glass ceiling‖ effect is still in place. Women‘s resistance to their subordinated and suppressed position in society, and therefore to the patriarchal culturing of gender and ―gender roles‖ has emerged from feminist epistemology. The women who demanded equal citizenship and the right to vote, in light of the French Revolution, led to the inception of feminist epistemology. This was an era in which suppression was viewed as unnatural and unfair; therefore, the reasons behind it were questioned and these subjects became discussed as more than matters of ethics but as matters of society. The feminist movement was borne as a result of the doctrine of equal rights. The conundrum of this movement, which can be called first-wave feminism, was that equality was demanded from men. Feminism has used cultural, biological and evolutional discussions in an attempt to reconstruct the concept of gender. It has discussed the matter of gender with a multi-disciplinary approach, and through various perspectives. Science and art can be seen as the two main fields for these discussions. Currently, gender and women‘s studies are research subjects in many different fields and disciplines. This study examines the concept of women, in art – more specifically in the art of music and one of its subgenres: the concept of women in popular music. 262 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The main subject of early women‘s studies in music was about the presence and absence of women. However, this approach doesn‘t seem to be well suited for contemporary music, where women are very much present. Whether it is ―classical‖ or ―popular‖ or ―folk,‖ women‘s presence is felt clearly. Yet ―How are women present in music?‖ is still a valid question, which opens up questions about the representation, construction and presence of women within the field of music. In recent times, the world of academics has been paying popular culture and women‘s studies the attention it deserves. As previously mentioned, these matters are being examined in multiple disciplines. Academics mostly focuses on how women evaluate and express the problems and myths that affect them within the male-dominated field of music. This theoretical framework, which is called ―the recovery and reappraisal approach‖ is built around questions such as; How have women managed to express themselves in a maledominated culture? Why has women‘s creativity been underestimated, undervalued, and overlooked? How is men and women‘s creativity different from each other? And most importantly, what are women‘s stories and myths? (Rakow, 1995). Cultural Studies views culture as an area of conflict and negotiation. Popular culture and music, as a cultural area, allows women to express themselves, but at the same time is restricts them through industrial and thus financial issues. The ―recovery and reappraisal approach‖ mentioned above, focuses on the female experience, in order to understand and express how popular culture simultaneously contributes to and excludes women‘s creativity. In other words, how while popular culture allows a space for women to express themselves, it surrounds that space with male mythology, and carries a tendency to restrict women‘s active creativity. We see that women tend to be represented in popular culture texts (ads, fashion, magazines, TV shows, songs etc.) in a way that concurs with the gender doctrine. In most cases, the woman is represented as good, passive, virtuous; and as a housewife. The subordination, passivity and suppression of women in popular culture, and women‘s need for self-representation are very common subjects in feminist criticism. As women‘s control over their own images and representation grows, we see that the male discourse surrounding and creating these images is giving way to female discourse. The increase of women‘s control and activity is especially important for popular culture texts, which have a wide reach and high usage value. The most effective way to change the patriarchal outlook of the popular culture industry is for women to take on more creative and active roles within the industry. As mentioned before, the cultural studies approach, views culture as an area of conflict and negotiation. The increase of women‘s control over their own images and representations can slowly turn this conflict to their favor. One of the most effective forms and fields for this is popular music. Due to its ability to appeal to wide audiences, popular music is considered to be one of the most effective cultural forms. Lyrics, the timbres that are used, the images presented to the audience, and the ways that popular artists expose their private and daily lives to the public makes popular music a discipline that covers a much wider spectrum than merely music. Now let us briefly examine the state of femininity and women in popular music. Women and Popular Music It is known that men are overwhelmingly present in production within the music industry. The dominance of men in the roles of ―music creators” such as composers, arrangers, musicians and producers, and ―cultural mediators‖ such as organizers and critics, reminds us that the ―business‖ aspect of popular music is still overwhelmingly male-dominant. While the popular music industry views sales and commercial success as metrics of success, it also imposes the idea that these are genuine musical successes whether openly or tacitly. It makes use of multiple traditional and new media (Spotify, Instagram etc.) platforms in order to achieve this. If the main concern is making money, whether the earner is a man or woman does not carry much importance. However, the music industry usually acts under the assumption that its consumers are children and teenagers; and more importantly girls and women. Thus, it tends to prioritize male artists. Also socially, girls are rarely encouraged and supported in the field of popular music, which is not viewed as a legitimate form of work. Therefore, it would be fair to say that men, who are more populous within the industry, have an advantage over women in the field of popular music. Album sales have diminished in importance as a generator of large revenue for the music industry and its investors. Producers and companies having shares of copyright fees, advertising revenue through clicks, and live performances has become more common. Women have a higher advantage as singers and musicians, in terms of live performances, within the subgenre of ―mainstream pop.‖ There is a tendency to display women‘s 263 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 bodies, images and sexuality; which also affects music videos. While there are exceptions, female bodies tend to be displayed in a gendered way that emphasizes sex appeal. The representation of women in lyrics is another important subject. If we are to look at the near history of popular music, we can see that various social events provided inspiration for lyrics. For example, wartimes have been a subject even in ordinary love songs. Yet even in cases where social events are in the forefront, we come across lyrics that either portray women as mother-earth-like figures and compliant partners, or sexual objects to be exploited. Jimi Hendrix and John Lennon are two worldwide famous examples of this dual representation of women that easily come to mind. Frith (1978:78), summarizes this by saying ―that it was possible to read back from lyrics to the social forces that produced them.‖ This makes song lyrics one of the important components of a society‘s culture. Frith‘s statement suggests that we may very well understand society‘s culture and expectations regarding gender and gender roles. The narratives about the female gender in songs are effective indicators of how gender is viewed within the society they are produced in. Therefore questioning how right it is for female narratives and representations to be solely in the hands of men, and making the appropriate determinations and warnings is one of the main objectives of this study. As previously mentioned, the cultural field, and popular culture while subordinating and pacifying women, and attempting to confine them to their traditional gender roles also grants them certain freedoms and opportunities to express themselves. Within the genre of popular music, which we characterize as ―mainstream‖ we see that women are presented and represented through a traditionally patriarchal lens. Yet in other subgenres, such as rock, rap, punk or alternative pop, which are viewed as more ―underground and/or indie‖ while remaining in the popular domain; we can see that women are given better opportunities to freely represent and express themselves. The label of underground is often thought to be synonymous and interchangeable with the label of ―indie.‖ It is important to point out the critical distinction that indie music corresponds to a ―style‖ that is independent of industrial production, while ―alternative pop‖ can be thought as a semi-independence within the music industry. Musicianship is pushed to the foreground. Since we are examining how women are represented within ―alternative pop‖ we will mostly be giving examples from this genre. But first it is necessary to provide an overview to the description and conceptualization of alternative pop, where there seems to be a contradiction in terms. Is Alternative Pop a New Genre? It is very difficult to approach musical variety through a normative and systematic model, especially in our current day. The increasing development of technological support in the music industry has caused musical lines to blur and made it nearly impossible to encounter a ―singular‖ or ―pure‖ genre. In accordance with the norms of the postmodern era, most music has a very convergent and hybrid/syncretic structure. As difficult as is to find any society without conflict and solidarity, the same difficulty is present for music, which is a social phenomenon. Therefore, it has become as difficult to define music as to classify it, since it is a phenomenon that contains many components. Yet it is still possible to view music in certain categories (Ersoy, 2017:6). The concept of species can be expressed with a general definition, such as ―a group that consists of individuals, singles and singularities that share common attributes, and that are defined and represented by a common name; a group that can be distinguished within a type, due to shared characteristics.‖ The equivalent concept of genre, can be defined as ―a category that shares the same distinguishing characteristics, and that can be split into sub categories or types; a unity or ensemble made up of single beings, or genres‖ (Ulaş, 2002). Music, since it contains subgenres, or subcategories, is a main genre. According to Ersoy, genre is a concept that contains a ―sequence of levels.‖ Therefore, it makes sense to approach the concept of genre within these levels – which are not infinite; and within the boundaries of the framework of the relevant field. Categorizing genres with a defacto approach, we can define those that are expansive in terms of similarity and identity regarding their basic characteristics as ―Main Genres;‖ and those that differ under the scope and binds of main genres as ―Subgenres.‖ The normative necessity to accept a genre as a ―main genre,‖ stems from its capacity to contain level(s) beneath the interest level, or in other words its capacity to contain subgenres. So a level can only be accepted as a main genre if it carries the potential to create sublevels (2017:2-3). Categorization can be defined as sorting or classifying phenomena that contains identical characteristics according to their distinguishing characteristics. While categorizing music seems like an entire problem of its own, there is no problem when categorizing the primary genres; i.e. Classical Music, Turkish Music, Indian 264 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Music. The main cause of confusion for primary genres is the approach and criteria to be used for categorization. Our focus in this study is popular music, and the categorization of its relevant subgenres. If we accept music as the main level, we can accept popular music as one of its sublevels. We can categorize the subgenres of popular music according to various parameters, such as its production, source, instrumentation; whether it is lyrical or instrumental, acoustic or electronical. At this point understanding the concept of style becomes important for the classification of popular music. The most basic explanation of style is that it is the mode of expression, formation and practice used in a certain work. It is the particular interpretations, perceptions and expressions specific to a certain person. This definition may make it clear why, for example it is so difficult to split a genre such as rock into its many subgenres (i.e. heavy metal, acid rock, glam rock, psychedelic rock etc.). In order to conceptualize ―Alternative Pop‖ it is useful to determine what it ―not”, and to focus on the substance and meaning of the word ―alternative .‖ Most dictionaries list words such as different, other, substitute, unusual, divergent as synonyms for alternative. Yet the descriptions of ―alternative pop‖ appear to associate it with the ―underground” – subgenres that belong to countercultural contents and experiences. In this case, genres such as rock, punk, heavy metal and rap appear as ―underground‖ genres. If we are to ponder why these genres have been given this label, we can see that they defy the monetary concerns of the music industry, as well as societal norms and thus diverge from and stand against what can be considered ―mainstream pop.‖ However, approaching alternative pop in relation only to subgenres, which are ―underground‖, and/or “indie,” would be constraining it to too limited an area. We can include the people who are worthy of being called musicians; who make their own music, play instruments, have received musical education or have received education in different fields within this category. The most important point of alternative pop is that it is not mainstream pop. The matter of defiance becomes pertinent here. Nevertheless, it is a style that is associated with and produced within the music industry. Independent (or indie) refers to groups or individual artists that make their own music which is released by small or mid-level companies. The music industry has a tendency to fold in ―underground‖ genres that find success, and turn their musical success into financial success. Therefore, because of the industry‘s prioritization of financial success, the countercultural stance of the style loses meaning. This situation is often called “going soft” within the industry. The result is that a new form emerges. This new form is labeled as ―alternative,‖ but the content and meaning of the word is altered in the process. The musician, who has gained their identity as musician within these ―underground‖ genres (such as rock, heavy metal, punk, rap…), understands what makes them ―real” or ―authentic;” recognizes that the new music they are making under the umbrella of the music industry has moved away from the authentic ―underground” style, but is still not ―mainstram pop;” and thus labels this new style as ―alternative.” One of the prominent examples of this for Turkish music is Fatih Erkoç, who has a serious musical background yet is also seen within mainstream pop. Kenan Doğulu, Metin Özülkü and Candan Erçetin are other examples of this. During the interviews I conducted with Özlem Tekin and Pamela Spence in 2005, they defined alternative pop as ―a genre that has various sounds that differ from person to person, but is definitely „not pop‟.” It can be seen that the emphasis of their description lies in opposition to mainstream pop. This is a definition that is in accordance with the description of ―alternative” made above. It is a description that is made by a person who has been raised within and gained their identity as a musician, making music that genuinely belongs to the genre of heavy metal, realizes that they are unable to continue purely in this genre, while also being aware that what they are making is not mainstream pop either. To summarize, while ―alternative pop‖ is often thought to be the same as ―alternative music,‖ in general terms alternative music refers to the albums and music that belongs to ―underground‖ styles and is produced independently under small and mid-level companies. Alternative pop, on the other hand, refers to music made by people whose original aim is to make genuine music – whether or not it is related to any ―underground‖ styles – who are forced to yield to the demands of the music industry but who are first and foremost ―authentic‖ or genuine musicians. This genre does not refer to a similarity in sound between the various works that belong to it. However, it contains lyrics that invite consideration and examination, and that diverge from those of mainstream pop, which are often accused of being clichéd and cheesy. The artists that make alternative pop prefer to gain relevancy through their music rather than their media personas. Therefore, we can say that ―musicians‖ that utilize alternative forms and styles within the field of popular music, and the works they produce belong to the realm of alternative pop. It is also possible to say that alternative pop is a category of mainstream pop which diverges from it in terms of form and style. To reiterate, alternative pop is the music made by musicians whose 265 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 first objective is not to ―earn money,‖ and whose music is different in form and style to the mainstream pop made by ―musicians‖ who prioritize financial gain. The Representation of Women and Femininity in Alternative Pop As mentioned above, musicians with ―underground‖ roots, whose main objective is to make their own music, who become part of the music industry, do not associate themselves with mainstream pop music. People who fall under the category of ―musician‖ and genuinely stand out due to their musicianship make alternative pop, which defines itself with its differences from mainstream pop. This means that one of the main criteria is whether the singer, who is the most visible component of the popular music industry, is a musician. We can describe a musician as someone who composes music, or plays an instrument, who has a personal history of making music; but more importantly as someone who has received some form of musical or artistic education. Furthermore, artists who feel they are related to alternative pop are not interested in becoming popular due to their media personas, but prefer to be known for their music. There are artists who are known for their musicianship within mainstream pop as well, but the matter of persona is still much more prominent than it is in alternative pop. More importantly, mainstream pop contains ordinary timbers that are not hard on the ears, and soft, unchallenging lyrics. We can see that popular music, and especially mainstream pop which is seen more as a job, prioritizes components such as ―showmanship,‖ ―media personas,‖ and ―visuals.‖ This emphasis on persona is not often seen within the works and musicians that fall under the category of alternative pop; and musicianship tends to replace media persona. In cases where show business and visuals are more prominent, we see that the female body is usually presented as a sexual object. In these cases we can say that musicianship is reduced to a secondary trait. We can say that examples such as Hadise, Aleyna Tilki, Demet Akalın; and older examples such as Hülya Avşar and Petek Dinçöz who are seen as ―show girls‖ and are known for displaying their sexuality under the subgenre of mainstream pop as representatives of this. The use of sexuality exists in alternative pop as well, but is not as overt or central as it is in the mainstream. Since they are visual mediums, physical appearance tends to be more emphasized in live performances and music videos. However, alternative musicians are usually not interested in representing themselves that way in their lives offstage. If we are to examine the lyrics of mainstream pop in terms of women and gender, it is important to firstly consider that we know that the lyrics are industrially produced and lack content that invites analysis or thought. This industrial production results in lyrics that use cliché expressions and that don‘t reflect the artist‘s identity, and that are accompanied by generic timbres. The woman is represented either as the passive and compliant lover, or as a sort of glorified ―earth-mother.‖ The figure of the compliant, well-mannered, virtuous and manageable woman is traditionally seen as one of the building blocks of a healthy society. The lyrics in mainstream pop emphasize these traditionalistic qualities and reproduce existing patriarchal gender conventions. The difference between women and men‘s thoughts on writing lyrics is important for alternative pop. Men tend to express love in ways they are unable to express in their daily lives through their music, because according to gender conventions it is ―shameful‖ for men to cry or overtly display emotion. Women in alternative pop, tend to write thought-provoking lyrics that aim to tear down the image of the traditional, passive woman, and create a portrait of a productive woman who has a certain stance in life. Even with songs that have a love theme, the stance of the ―active,‖ ―strong,‖ ―unyielding woman‖ is the type of cliché for alternative pop. The most prominent examples of this can be seen in the songs of artists such as, Özlem Tekin, Şebnem Ferah, Nil Karaibrahimgil, Fatma Turgut, Güliz Ayla and Gökçe Kılınçer. The common ground is these artists‘ ―female stance‖ which encourages the female ethnicity. They are postmodern characters, as active, unyielding ―musician‖ women who stand on their own feet. One of the defining characteristics of alternative pop is the existence of personality, and musical identity within the lyrics. The composer writes lyrics that reflect their own, personal experiences. Or alternatively, focus on songs that are reflective of themselves, and sing other songs that fit this criteria. When this state of ―authenticity‖ is supported with their daily lives, and a media persona is not pursued, it creates a perception of ―musicianship.‖ If this perception is supported with the ability to play an instrument and/or compose music the results tend to be successful and women can gain the status of ―singer-songwriter.‖ 266 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Conclusion Postmodern feminism, especially within the framework of Cultural Studies, tends to not focus on how women are oppressed and subordinated; but rather women‘s achievements and the stories of successful women. While representing women who are beaten up, murdered, abused and pushed around can be deterring, it is also important to note that constant exhibitions of these behaviors in daily media encourages people who are inclined towards violent behavior, and serves to reproduce these problems. This study, which focuses on how women are represented, and how they should be represented, specifically in the field of popular music, emphasizes the need for representations that eschew patterns of ―passivity‖ in favor of ―activeness.‖ Popular culture, due to the production logic of the industry has a complicated tendency to exclude women‘s creativity, and simultaneously contribute to it. It appears that men are treated preferentially compared to women within the music industry. As a result, the clichéd representation in men‘s songs contribute to the reproducing the existing culturing of gender, which leaves women to deal with the problem of their own representation. However, the ―musician‖ women of alternative pop who have gained the status of ―singersongwriter‖ are regarded with respect within society, in a way that is completely different to ―show girls.‖ The lyrics of women in alternative pop also have a completely different style from those in mainstream pop. Alternative pop lyrics have ―thought provoking‖ and ―deep‖ expressions. The stance of ―active,‖ ―enlightened,‖ ―self-sufficient‖ women is consistent with these musicians‘ personal identities, which makes their songs more ―authentic‖ or ―real.‖ In summary, they do not sing songs that ―they can‘t stand behind.‖ The discourse regarding ―female ethnicity,‖ which is accepted as a postmodern community, is presented along with ―women‘s stance.‖ Therefore it is possible to talk about a passive solidarity for women who are oppressed due to the gender culture and patriarchal norms. On the other hand there is a visible difference between the lyrics written by women and the lyrics written by men. While men‘s lyrics tend to reflect their emotional sides, women‘s lyrics contain the truths and frustrations they are unable to express in their daily lives. The use of sexuality and emphasis on the media persona is more measured for women in alternative pop, compared to those in mainstream pop music. Their musicianship is more prominent. The representation of women, by women that exists in alternative pop is different from, and more advantageous for women than mainstream pop. Postmodern feminism also posits that the female condition will get better as positive representations of women become more prominent. References Işık İ, Emre. Beden ve Toplum Kuramı, Bağlam Yayıncılık, İstanbul, 1998. Kruse, Holly. ―Gender‖, Key Terms in Popular Music and Culture (eds.) Bruce Horner and Thomass Swiss, Oxford: Blackwell Pub. 1999. Rakowi Lana. ―Popüler kültüre Feminist Yaklaşımlar: Ataerki‘nin Hakkını Teslim Etmek‖, Kadın ve Popüler Kültür, (der. Ve çev.) Süleyman İrvan & Mutlu Bİnark. Ark Yayınevi, Ankara 1995. Rosenau, Pauline Marie. 1995. Rosenau, Pauline Marie. Postmodernizm ve Toplumbilimleri, (çev.) Tuncay Birkan, Ark Yayınları, Ankara, 1998. Sakar, Mümtaz Hakan. Rock ve Özlem Tekin Gece Kitaplığı, Ankara, 2014. Whiteley Shelia. ―Repressive Representations: Patriarchy and Feminities in Rock Music of the Counterculture‖, MApping the Beat: Popular Music and Contemporary Theory, (eds) Thomas Swiss, John Sloop, Andrew Herma. Oxford Pub. 1998. Women and Popular Music, Sexuality, Identity and Subjectivity, London, 2000. Ulaş, Sarp Erk. Felsefe Sözlüğü, Bilim ve Sanat Yayınları, Ankara 2002 267 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The Healing Art of Anatolia: Circus Art Pinar Arik Anadolu University, School of Music and Dance, Department of Performing Arts, pinarik81@gmail.com Abstract When we look at the history of art from its inception to the present, it is undoubtedly apparent that art originated from emotional, mental, and physical human needs. By transforming into different forms in different periods, art has essentially served the purpose of making society better. The functionality of this idea has a special place when talking specifically of the performing arts. The most important reason for this is the structure that includes live, instant and mutual interaction between the actor and the audience. By the time the 21 st century arrived, by using the elements of the performing arts (acting, dramaturgy, dance, opera, etc.), it is possible to say that circus art is the most prominent representative of Wagner's "Total Art Work" approach. When we embark upon a journey from today‘s postmodern era to several centuries ago and discover ―Ottoman Festivals‖ held in Anatolia, we witness how the healing power of performing art based on circus performance skills is functional within the respective society. Ottoman Festivals, which took place between the 16 th and 18th centuries, are usually a feast of artistic skills organized to celebrate an event related to the palace. The most important aspect of it is that it strengthens the sense of unity and solidarity of the people by effecting widespread social relaxation, ensuring that the people of the palace and wider society have fun together rather than separately. The "ritualistic structure" and "healer function" of these festivities, which are held with a collective spirit, are quite striking as they can be understood from examining how the festivities are organized, their purpose, and the intentional diversity of the skills presented. When we analyze the narrative language of these festival talent shows and the artistic materials used, the following elements that serve the healing function are decisive: Illusion Music and dance Dramatization Bodily Capability Challenge against gravity Fabulous, magical, and fantastic atmosphere Childlike game logic Interdisciplinary integrity Large or circular spaces where the audience and the artist are entwined Considering the roles of these elements in social healing, it is understood that people experience and share emotions such as excitement, courage, admiration, fascination, fun, and pleasure all together and at the same time during such performances. People take refuge in the playful, fantastic world created through narrative styles like illusion, music, dance, acrobatics and dramatization in these shows. In short, it is possible to say that the "ritualistic structure based on social purification", which is found in the birth and source of drama art, is living in all performance arts, including the art of circus performance. This branch of performance is suitable for all kinds of disciplines, and will continue to live due to an inherent human need. Keywords: Ritual, Theatre, Representation, Performance, Circus, Integrity, Ottoman Festivals, Healer Function. 268 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 When we consider the history of art from its birth to the present, it is undoubtedly apparent that art emerged from the human needs that are emotional, mental and physical, and is in the service of healing of the society by transforming from one form to another almost in every historical period. Art, which was accepted to be emerged from the compulsory needs of humankind, enabled recognition of their own power and the forces of nature, became an expression of influencing these forces, encouraged them to work enthusiastically, educated them and at the end contributed to their own development and change on the world as a species. The artist and the art receiver is in a ritualistic kind of act at the beginning but at the end of the this artistic creation, enthusiasm calms down, the ideas become more enlightened than before and the attendant individual is healed by the pleasure of being a member of a society or being a part of a whole (Şener, 1993: 9-10). For this reason, the functionality of this situation has a special place in the performing arts. The most important reason for this is the structure that includes the live, instant togetherness and mutual interaction between the performer (the performing artist) and the audience. As a matter of fact, Oscar Wilde expresses his view on the art of theatre, which is also a description for the basis of all performing arts: ―I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.‖ (Brockett and Ball, 2018: 5) Studies on the emergence of the art of theatre from sacred ceremonies (rituals) among the primitive societies prove us the direct relation of its form and the healing function in the theatre art. The ceremonies dedicated to supernatural powers, rather than being artistic acts. Those seem to have a healing function such as securing the position of man in the order of nature, achieving success in hunting and wars, and for the preserving the fertility of the soil (Bockett and Ball, 2018: 5). Ritual and art of theatre, which use the same basic forms of expression such as music, dance, costume, masks, imitation, and speech in the formal sense have some functional points in common. Oscar Brockett (from Campbell, 2000: 18) ranks these as Pleasure (food, shelter, sexuality, parenthood), Power (orienting to conquer, consuming, or glorifying oneself or tribe) and Duty (to gods, tribe, or customs and values of the society). The art of theatre was largely accepted to be emerged from ritualistic acts that are mostly emotional ceremonies in which life and art are intertwined, where the separation between the artist and the audience was unclear and the feelings are shared collectively, has gradually transformed into an artistic, aesthetic, intellectual, textual form. The mimetic element in these ceremonies, where the subject of the death and resurrection of nature and the gods is animated through "imitation" and "dance" at the beginning, has started to become autonomous throughout the time. Primitive spells turned into celebratory ceremonies, these ceremonies turned into religious hymns, and hymns into rhythmical melodies. At the beginning, the evolutionary process of the sorcerer who led the ceremony took place with the order of a clergyman, choirmaster and actor (Çalışlar, 1992: 192). Thus, the history of theatre, which started during the Ancient Greek Theatre has continued to be used for different purposes and performed in many different forms till today. However during an emotional, ecstatic, sharing, participator and healing ritual the sorcerer or the performer is served as a kind of victim during the performance and continued to appear among different applications throughout the history of theatre art. For example, names such as Antonin Artaud (1896-1948), Jerzy Grotowski (1933-1999), Peter Brook (1925), Richard Schechner (1934), Eugenio Barba (1936) suggested that the theatre should preserve its ritualistic structure as it was in the beginning, and shaped their understanding of art according to that idea. It is obvious that the performing arts have turned into a new dimension with the contribution of a new concept: "performance" (representation, action) from the second half of the 20th century in arts. The performance, in which different disciplines such as theatre, opera, ballet, sculpture, painting, pantomime, music, etc. are brought together and stands against a traditional, text-oriented kind of theatre. The performance, which was initially named as ―Happening, Action, Fluxus", was later used as the equivalent of various types such as "body art, real life experiences, living sculptures or dance theatre‘‘. The main purpose of these performance artists, who first started to create their own artistic productions during the 1950s and 1960s, was to save the concept of art from being a commercial object to be marketed. For this reason, they argued, with the suggestion of live and living art that is not for sale as an inanimate object. A new understanding which addresses to the public for the sake of entertaining or raising awareness and representation aspect of which it prevail and emphasizes the "here and now‖ feature, where the audience participates as a contributor during the art event. 269 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 As a result of today's representation oriented research, the European fair theatre, the "Balagan", which is a type of fair theatre in Russia, the circus art that started in Europe in the 18th century, the vaudeville, variety, music hall gained importance during the 19th century. Ottoman Festivals which are held between 16th and 18th centuries, served as pioneering acts for some modern art forms such as the cabaret that emerged with Avantgarde movements in the 20th century, are historically categorized as representation and/or performance arts. Today, artistic types such as circus are categorized under the title of "Street Arts Forms" (Candan, 2010: 13, 16, 19-20). It is seen that the understanding of "contemporary circus" transformed into a new dimension in arts during the 20th century and benefits from the elements of different types of performing arts (acting, dramaturgy, dance, opera, etc.). It is possible to say that the most prominent representation of this conceptualization of art is evident in the Wagner‘s understanding of art. He has defined the opera as a "holistic art" (Totalgesamtwerk) by emphasizing its interdisciplinary feature in the 19th century and it is the same for the purpose of the art of circus since 1970s. When we take a retrospective look for development of arts from the postmodern age to the centuries ago and come across the Ottoman Festivals that were held in Anatolian lands, we witness how the healing power of performance arts based on circus art skills has gained functionality. Ottoman Festivals is a kind of festival including many different artistic skills and is usually organized to celebrate an event related to the Ottoman Palace. For example, the birth of a child, circumcision, marriage, accession to the throne, a victory that is won in the war, a campaign to be gone, the seizure of a castle, a peace treaty that is signed or because of the arrival of a foreign statesman to the country, etc. (And, 1959: 9). The most important aspect of these festivals is that they strengthen the sense of unity and solidarity among the Ottoman people by creating a social relaxation effect by ensuring that the people of the Ottoman Palace and the Ottoman people from very different ethnic diversities could have fun together. Apart from this, these festivals also undertake a dynamic function based on the renewal of the society with the abolition of pressures and prohibitions and a functions to make the individuals feel happy for being a member of such a society (And, 1982: 2,3). Metin And explains the most important reason by underlying these festivals to be held as follows: All these specified and unspecified occasions were actually nothing more than a cover for the more important political occasions. The sovereign head of state was going on a show of strength to promote his greatness and power through festivals to foreigners as well as his nationals. Most importantly, a religious propaganda was made to foreign eyes besides a national propaganda (And, 1959: 15).) Based on this information, it is possible to list the important social functions of the festivals as follows: - It brings the people living together with the Palace dignitaries who are members of the higher positions in terms of social class structure. - It strengthens the national unity and solidarity senses among the citizens of the Ottoman Empire. - It provides a spiritual relaxation and renewal of the society with the cleaning of pressures and prohibitions of a strong state for a short period of time. It is known that the festivals were celebrated not only in the capital city of Istanbul but also in many cities that the Empire governed for a long time such as Cairo and Aleppo. Most information about these festivals which we have been obtained today belongs to the cities of Istanbul and Edirne and they are considered to be the most spectacular ones when they are compared with the other festivals. It is stated that various large areas, squares, gardens, water shores or water tops, especially large venues such as Tahtakale, At Meydanı, Ok Meydanı, Golden Horn, and Kâğıthane, are preferred to be organized in Istanbul to ensure watching of the skill shows in the festivals in the best way. And, 1982: 35,36; 1959: 20). The presence of parades based on exhibition of the crafts of the tradesmen procession as well as different talent shows at the festival turns the festival into a very large-scaled festival atmosphere. The fact that works requiring many organizational skills such as the organization of different talent demonstrations and the parade of the tradesman procession at the festivals, setting up of tents, making of technical preparations, preparing the Square ready for the Sultan, guests and the public, hosting of the guests, eating and drinking are carried out in a very orderly and with a flawless manner is an information that does not go unnoticed by foreign witnesses. (And, 1985: 179). 270 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The disciplines in circus art such as rope, pole and column acrobatics, magic and power shows performed with different objects whereas clowning, acrobatics shows based on balance and dexterity; horse riding and animal shows take place among the performances of skilled artists of various religions and races. Apart from this, there are sportive performances such as matrak and wrestling, various sword games, music and dance performances, fireworks shows and war games based on dramatization and decoration-costume design performed on land or sea. Images 1-2-3-4-5-6-7-8: Tightrope walker 271 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Images 9-10: Long leg stilts İmages 11-12-13-14: Pole and column acrobats 272 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Images 15-16-17: Jugglers Images 18-19: Illusionists Images 20-21: Power shows 273 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Images 22-23-24-25-26: Acrobatics and balance shows Images 27-28-29: Balance demonstrations with test, bottle and sinus 274 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Images 30-31-32-33-34: Ottoman clowns 275 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 Images 35-36-37: Ottoman dancers Image 39: Fireworks shows Image 38: War games on land Image 40: Animal shows İmage 40: Animal shows 276 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 The "ritualistic structure" and "healer function" of these festivities, which are held with a collective spirit are very attractive shows for public and as it can be understood from the way the festivals are organized with a professional manner, their purpose, and the diversity of the skill shows. When we analyze the narrative language of these festival talent shows and the artistic materials that are used during these shows, the following elements that serve the healing function are decisive: - Illusion Music and dance Dramatization Body Capability Plays for challenge against gravity Entrancing, magical, and fantastic atmosphere Childish game logic Interdisciplinary integrity Large or circular spaces where the audience and the artist are entwined Considering the roles of these elements in social healing, it is understood that people experience and share same emotions such as excitement, courage, admiration, fascination, fun, and pleasure all together and at the very same time during these performances. As a matter of fact, the contemporary representation art theorist Victor Turner explains this non-real life and cross-border application area of daily life with the concept of "liminoid". Ayşın Candan expresses this concept in her book titled "Play Ceremony Representation" as follows: We enter this field even in a stereotypical traditional theatre life. The time spent looking at a bright stage in a darkened hall during a break from productive, vital activities in the evening (or daytime) hours, feeling and thinking about what is happening there is valuable and meaningful as it throws us out of daily life. There, done beyond the daily worries, thought in deep and dreams are made. Cultural researchers consider this cross-border (liminal) concept almost as a nursery of cultural creativity. Because new examples, symbols and paradigms can be produced there (Candan, 2010: 15) (Candan, 2010: 15) People like to have fun in the playful, fairy-tale like and carnivalesque world created through the expressions of illusion, music, dance, acrobatics and dramatization thanks to these performances at the Ottoman Festivals. They feel themselves free to take a breath in this magical entertaining world by escaping from the burdens of negativity in real life, even it is for a short time period. The pleasure and courage of escaping from the rules, pressures, identities, statuses and patterns of the real world and escaping to a magical world results in healing people and help them regain their strength. Because there is an equality in this emotional world where the relationship between performance and watching coexists. Laughed in the same manner, cried in the same manner admired in the same manner, and breathed in the same manner. There are no statuses, identities, pressures, patterns in this world. For this reason, the feeling of freedom, which is the most irrepressible drive of man, comes to surface this world. This is a vital breathing need. As a result, although it is seen that the skills in Traditional Turkish Performing Arts in Turkey could not be combined under a national and contemporary branch as circus art and institutionalized throughout the time, the fact that this is a social need that cannot be denied. In addition to this, the language of expression and the artistic materials used in the circus art, which is universally applied, except for the Ottoman Festivals, remain valid within the scope of the healer and healing function of this art mentioned above. In short, it is possible to say that the "ritualistic structure based on social purification", which is found in the birth and source of drama art is living in all performance arts, including the art of circus performance. This branch of performance is suitable for all kinds of disciplines, and will continue to live due to inherent human needs. 277 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 References: And, M. (1959). Forty Days Forty Nights / Theatrical Plays at Old Fleets and Festivals. İstanbul: Taç Publications And, M. (1982). Turkish Arts in Ottoman Festivals. First Edition. Ankara: Ministry of Culture and Tourism Publications. And, M. (1985). Traditional Turkish Theatre / Traditions of Villager and Folk Theatre. Ankara: İnkilâp Kitabevi Publications. Brockett, G.O.; Ball,Robert J. (2018). The Essential Theatre. İzmir: Kara Kalem Kitabevi Publications. Brockett, G. O. (2000). History of the Theatre. Ankara: Dost Kitabevi Publications. Candan, A. (2010). Play Ceremony Representation. İstanbul: Norgunk Yayıncılık. Çalışlar, A. (1992). Dictionary of the Theatre Concepts. Ankara: Boyut Publications Şener, S. (1993). From Ply to Thought. Ankara: Gündoğan Publications References of Images And, M. (1959). Kırk Gün Kırk Gece / Eski Donanma ve Şenliklerde Seyirlik Oyunlar. İstanbul: Taç Yayınları. And, M. (1982). Osmanlı Şenliklerinde Türk Sanatları. Birinci Baskı. Ankara: Kültür ve Turizm Bakanlığı Yayınları. And, M. (1983). Türk Tiyatrosunun Evreleri. Ankara: Turhan Kitabevi. And, M. (1985). Geleneksel Türk Tiyatrosu / Köylü ve Halk Tiyatrosu Geleneği. Ankara: İnkilâp Kitabevi. And, M. (1994). İstanbul in the 16th Century: The City of the Palace of Daily Life. İstanbul: Akbank Culture and Art Publication. And, M. (2004). Osmanlı Tasvir Sanatları. İkinci Baskı. İstanbul: Türkiye İş Bankası Kültür Yayınları. Atasoy, N. (1997). 1582 Sûrnâme-i Hümayun: Düğün Kitabı. İstanbul: Koçbank Kültür Sanat Yayınları. Atıl, E. (1999). Levni ve Sûrname / Bir Osmanlı Şenliğinin Öyküsü. İstanbul: Koçbank Kültür Sanat Yayınları Nutku, Ö. (1987). IV. Mehmet'in Edirne Şenliği (1675). İkinci Basım. Ankara: Türk Tarih Kurumu Yayınları 278 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 EPILOGUE The International Art-Design Conference “The Healing Power of Art” Simber Atay Dokuz Eylul University, simber.atay@deu.edu.tr The International Art-Design Conference ―The Healing Power of Art‖ organized by Dokuz Eylül University Buca Faculty of Education was held online on April 14, 2021. In addition, an online art exhibition was opened as part of the symposium. During the conference, we had the opportunity to join many interesting and valuable presentations and participations in an energetic and successful academic environment. In the context of the "The Healing Power of Art" theme, participants from many branches of art and art education, from theater to cinema, photography to music, ceramics to graphics, identify the healer's identity; They discussed within amazing examples the functions of art, art therapy, the healing power of art, art as a challenge against life's difficulties and related creative strategies, as well as intercultural artistic initiatives and basic ecological awareness. In terms of timing, the primary reason for holding this International Art-Design Conference ―The Healing Power of Art ―is the Covid-19 pandemic. The Covid-19 pandemic, the consequent catastrophic health conditions and lockdown process have caused a global paradigm shift. This pandemic is an unusual and extremely dramatic experience both individually and socially. Accordingly, an entire humanity has become prisoner of the pandemic. Individuals necessarily became part of a collective loneliness, a collective isolation, and consequently a collective agoraphobia. Millions have died and more than a year has passed since its onset - as of April 2021 - people are still dying because of it, and variants of the virus make it difficult to combat the disease. Pandemic prevention and protection measures are formulated as mask, distance, and hygiene all over the world; The lifestyle that is the result of this situation can probably be formulated as follows: Always inside! Therefore, we became historically witness of the pandemic. Moreover, metaphors of disease, death or surviving which are frequently encountered in various intellectual platforms, suddenly and unexpectedly ceased to be metaphors, and became everyday reality. In this process, the meaning and importance of museums, libraries, and archives, where the cultural heritage and memory records of humanity are preserved, were once again revealed in a magnificent way. Many museums, libraries and archives around the world have shared their treasures in cyberspace, broadcast live and initiated interactive cultural, artistic, and creative processes. They also encouraged audiences or cyber visitors to make free adaptations of famous works of art, paintings, and iconic photographs in conditions of lockdown's limited space and material supply under the conditions of lockdown's limited space and material supply. These aesthetic strategies caused by Covid-19 have created many cyber-artists of all ages Again, in the same context, galleries, exhibition halls, art associations started to carry out their activities in cyberspace. Theaters took the stage in cyberspace. Orchestras gave cyber-concerts. Artists, artist groups and initiatives shared their discourses on social media. In fact, the cyber information and communication environment already existed, but under the pandemic conditions, a moral concept crystallized within the functionality of the system: Solidarity. Many scientific and artistic organizations, individually, institutionally and as a group, have moved to the Internet. Universities have intensively organized international congresses in this way. Municipalities carried out their cultural and artistic activities virtually with an interactive design. Thus, the component of being physically ―hic et nunc‖ (here and now) in its conventional meaning acquired an old, historical character. In this process, the importance of distance education principles and technology has been clearly proven once again and these principles have been taken as an example at every education level from K12 to university. In the first wave of the pandemic, distance education was often implemented as an academic and 279 ULUSLARARASI SANAT – TASARIM KONFERANSI, PERFORMANS VE SERGİSİ 14 Nisan 2021 INTERNATIONAL ART- DESIGN CONFERENCE, PERFORMANCES & EXHIBITION April 14, 2021 pedagogical communication form rather than as a full system; however, it saved the education system from total collapse. Thus, hybrid designs have become permanent in the education sector. Covid-19 experiences created a new pandemic culture, and to define this culture, naturally, literature was used, and many books were updated in this way, for example: Decameron Tales of Giovanni Boccacio (1349-1353); The Plague of Albert Camus (1947); Love in the Time of Cholera of Gabriel Garcia Marquez (1985)… Likewise, the demand for post-apocalyptic zombie movies has increased in the field of cinema, for example: 28 Days Later...of Danny Boyle (2002), World War Z of Mark Forster (2013), Train to Busan” of Yeon Sang Ho, (2016) … The Covid-19 Pandemic is a human tragedy, but nonetheless, it is also a series of experiences with gains for the people. Moreover, the core of the tragedy is catharsis. Aristotle (384–322 B.C.),(2017) in his Poetics( c.330 B.C.), explains the catharsis or purgation/purification as follows: ―Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions‖ (Poet. 1449b21–29). Gadamer (2006) develops the subject and makes the following determination: ―How can Aristotle call this condition a purification?... It seems to me that the answer is as follows: being overcome by misery and horror involves a painful division. There is a disjunction from what is happening, a refusal to accept that rebels against the agonizing events. But the effect of the tragic catastrophe is precisely to dissolve this disjunction from what is. It effects the total liberation of the constrained heart. We are freed not only from the spell in which the misery and horror of the tragic fate had bound us, but at the same time we are free from everything that divides us from what is‖ (p.127). After all, today, Wednesday, 14 April 2021 is a beautiful spring day. Despite the pandemic conditions and geographical coordinate differences, we were together in cyber space. We presented our papers, shared our knowledge and experiences. We were happy at the end of the conference because we were together, we felt it, and we happily expressed it. To many more conferences… References: Aristotle (2017). The Poetics, (S. H. Butcher, Trans.), New York: Andesite Press http://www.gutenberg.org/files/1974/1974-h/1974-h.htm Gadamer, H.-G. (2006). Truth and Method, (J.Weinsheimer&D.G.Marshall, Trans.), New York: Continuum 280